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THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 


The  John  J.  and  Hanna  M.  McMANys 

Morris  N.  and  Chesley  V.  Young 

Collection 


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Copyright,  1920 
By  F.   G.  Thayer 


Original  Creation 

for 
MAGICIANS 


"Up 


Hitherto  Kept 


Sleeve 


By 


CHARLES  WALLER 

OF    AUSTRALIA 


PUBLISHED  BY  F.  G.  THAYER 
334  S.  SAN  PEDRO  ST.,  LOS  ANGELES,  CAL. 


Publisher's  Note 

It  is  with  much  pleasure  that  we  are  allowed  the  opportu- 
nity of  supplying  to  the  magical  fraternity  this  most  interesting 
volume. 

In  first  reviewing  Mr.  Waller's  manuscript,  we  were  at 
once  impressed  with  the  fact  that  here  was  REAL  MAGIC — 
something  which  would  appeal  to  every  entertainer  in  search  of 
new  and  workable  material,  the  practical  application  of  which 
would  warrant  its  immediate  approval. 

Our  most  considerate  aim  is  to  install  the  features  of  qual- 
ity and  satisfaction  in  all  products  which  emanate  from  our 
establishment.  To  this  end  it  is  our  personal  desire  that  every 
reader  of  this  book  will  derive  many  excellent  ideas,  and  a 
thorough  realization  of  their  ultimate  accomplishment  to  the 
success  of  "More  and  Better  Magic." 

F.  G.  THAYER, 

The  Publisher. 


GIFT 


4 


Contents 


Page 

Perverse  Magic 8 

The  Secret  Tube 12 

Nest  of  Boxes 17 

The  Rising  Cards 20 

The  Mountain  of  Flags 23 

A  Four  Ace  Climax 30 

The  Rainbow  Force 33 

The  "Turn-Over"  Force 32 

Full  or  Empty 34 

The  Big  Production 35 

The  Fourth  Dimension 39 

Charlie  Chaplin  and  Spooky  Ookum 41 

The  Utility  Fans 44 

The  Candle  That  Was 46 

The  Garden  of  Long  Ago 49 

An  April  Shower 54 

The  Leaky  Bag 58 

The  Floating  Ball  of  Paper 59 

A  Japanese  Idyll 62 

The  Bookworm QQ 

A  Patriot 's  Dovecote 69 

The  Crystal  Dyeing  Tube 72 

A  Bottle  and  Orange  Mystery 75 

The  Turnstile 78 

Silk  Stockings 81 

The  Screen  of  Life 83 


741 


Introduction 


It  is  difficult,  at  all  times,  to  set  a  value  on  a  book  of 
original  ideas.  Tastes  differ,  in  Magic,  as  in  other  things,  and 
what  suits  one  man  may  not  appeal  to  another. 

I  always  claim  that  if  the  purchaser  obtains  from  such  a 
work  one  effect  that  he  can  present  with  distinction  and  suc- 
cess, he  cannot  consider  that  he  has  been  charged  too  much. 

Such  being  my  opinion,  I  can  only  hope  that  the  reader 
w^U  secure  not  one,  but  many,  workable  ideas  from  the  pages 
that  follow;  in  which  case  he  will  be  in  the  debt  of  the 
publisher  and 

CHARLES  WALLER. 


Up  His  Sleeve 


Perverse  Magic 

IN  THE  usual  form  of  magical  entertainment  the  most 
extraordinary  things  happen,  professedly  because  the  per- 
former wills  that  it  shall  be  so.  He  utters  a  command,  waves 
his  wand,  or  fires  a  pistol,  and  every  natural  law  is  apparently 
set  at  naught.  In  what  I  choose  to  call  perverse  magic,  sur- 
prising things  happen,  despite  the  influence  of  the  magician,  and 
sometimes  without  his  knowledge. 

This  is  a  mode  of  presentation  that  I  have,  for  years, 
applied  to  certain  tricks,  and  found  productive  of  the  most 
delightful  results.  Not  only  does  this  departure  from  the 
stereotyped  style  provide  a  pleasant  change ;  but  its  discreet 
use  helps  to  create  a  very  desirable  magical  atmosphere.  The 
spectators  cannot  help  but  feel  that  they  are  living  in  a  world 
of  wonders  when  inanimate  objects,  taking  the  audience  into 
their  confidence,  so  to  speak,  execute  droll  and  astounding 
actions  behind  the  magician's  back.  Let  me  give  a  few 
examples. 

"The  Cantankerous  Handkerchief" 

All  conjurors  are  familiar  with  the  "Instantaneous  Knot," 
and  the  "Handkerchief  that  cannot  be  tied  in  a  knot."  This 
is  how  I  combine  and  present  both  in  dumb  show,  in  accordance 
with  the  methods  of  perverse  magic.  With  a  complacent  and 
leisurely  air,  I  roll  the  handkerchief  and  proceed  to  tie  a  knot. 
When  the  half -formed  knot  disappears  from  the  handkerchief, 
I  gaze  at  the  latter  with  a  mild  and  puzzled  air.  Again  I  try, 
and  with  no  better  result  (facial  business  showing  annoyance). 
The  third  attempt  is  made  in  a  brisk  and  determined  manner, 
the  set  lips  and  furrowed  brow  plainly  indicating  an  intention 
to  overcome  the  obstinancy  of  the  very  wilful  handkerchief. 
Another  failure,  and  the  handkerchief  is  dashed,  with  anger  and 

8 


Up  His  Sleeve 


disgust,  on  the  floor.  For  a  moment  I  stand,  as  though  regain- 
ing self-control ;  then  with  a  gesture  that  seems  to  suggest  the 
futility  of  bothering  over  so  small  a  thing,  I  pick  up  the  hand- 
kerchief. Behold !  It  has  tied  itself  into  a  knot.  I  hold  it 
away  from  me,  and  gaze  at  it  with  a  face  of  comical  despair, 
then  untie  the  knot.  In  a  flash,  it  is  back  once  more.  Again 
it  is  undone,  and  thrown  quickly  into  the  air.  As  it  descends, 
I  catch  it  across  the  open  hand.  The  knot  is  there  again.  Shak- 
ing my  head  wdth  a  resigned  though  discomfited  air,  I  let 
the  handkerchief  slip  slowly,  from  the  hand,  to  fall  on  the 
floor.    It  has  won. 

''The  Golliwog  Ball" 

This  is  the  feat  wherein  a  ball  rolls,  at  command,  either 
up  or  down  a  sloping  plank.    I  show  it  in  this  way. 

Announcing  the  experiment  as  an  illustration  of  the  quali- 
ties of  gravitation,  I  set  the  ball  at  the  upper  end  of  plank. 
Naturally,  it  rolls  down.  I  then  place  it  at  the  foot  of  the 
board,  with  a  block  of  wood  to  prevent  it  from  rolling  off 
altogether.  Now,  standing  to  one  side,  and  a  little  in  ad- 
vance of  the  plank,  I  deliver  a  brief  lecture  on  gravitation. 
This  is  not  a  burlesque,  but  a  statement  of  scientific  facts, 
delivered  with  utmost  seriousness.  The  humor  of  the  whole 
performance  lies  in  the  fact  that,  behind  my  back,  the  ball 
is  calmly  doing  the  very  thing  that,  in  accordance  with  the 
law  of  gravitation,  I  declare  it  cannot  do.  Sometimes,  to  illus- 
trate a  point,  I  turn  and  pick  up  the  ball.  At  such  times,  no 
matter  at  what  stage  of  its  travels  it  chances  to  be,  it  scurries 
back  to  the  foot  of  the  plank,  just  in  time  to  avoid  being  caught. 
Picture  the  delight  of  the  audience,  when,  at  conclusion,  I 
express  the  hope  that  its  members  will  have  benefited  by  the 
discourse. 

One  more  illustration,  and  I  shall  have  done  with  this 
phase  of  magical  presentation. 


Up  His  Sleeve 


"The  Impish  Card" 

A  card,  chosen  in  the  customary  manner,  is  returned  to  the 
pack,  which  is  then  placed  in  an  opera  hat  on  the  table.  I 
stand,  as  in  the  foregoing  example,  and  tell  of  the  extraordinary 
control  I  possess  over  the  cards — mere  lifeless  things  of  paste- 
board, they  become,  under  my  influence,  creatures  of  intelli- 
gence and  action.  Though,  for  the  time  being,  they  lie  still  and 
dormant  in  the  hat,  they  will,  at  the  word  of  the  master,  spring 
into  life,  to  do  his  bidding.  Now  while  I  have  been  saying  all 
this,  in  pompous  and  boastful  tones,  the  chosen  card,  with  the 
liveliest  impudence,  has  repeatedly  shown  himself  above  the 
rim  of  the  hat.  Always,  he  has  disappeared  in  time  to  avoid 
my  eye.  One  can  almost  imagine  that  he  winks  at  the  specta- 
tors, as  each  time  he  pops  his  head  above  the  hat.  Later,  I 
take  the  hat  in  my  hand,  and  command  the  selected  card  to 
leap  from  his  fellows  into  the  air.  As  he  does  so,  I  catch  him 
in  my  hand,  and  show  him  to  the  audience,  who  greet  his 
reappearance  with  joy,  for  he  has  established  between  him- 
self and  them,  a  bond  of  comradeship  that  is  born  of  conspiracy. 
And  so  they  applaud,  and  settle  back  in  their  chairs,  to  await 
with  expectancy  the  coming  of  the  next  problem. 

I  will  explain  the  arrangements  for  this  little  interlude. 
The  card,  of  course,  is  forced,  and  there  are,  in  the  hat,  two 
duplicates,  arranged  in  as  many  fakes.  The  card  that  is  respon- 
sible for  the  premature  appearance  is  contained  in  a  little  case, 
made  of  cardboard  or  leather,  and  covered  with  black  silk.  It 
is  attached  by  one  of  its  upper  edges  to  that  side  of  the  mouth 
of  the  hat  that  will  be  nearest  the  spectators.  One  end  of  a 
length  of  black  thread  is  fastened  to  the  rear  or  unattached 
edge  of  the  case,  to  pass  through  the  side  of  the  hat,  just  below 
the  brim,  and  end  in  a  black  button.  The  hat  stands  mouth 
upwards  on  the  table,  and  the  thread  is  laid  in  little  coils  by 
its  side  with  the  button  slightly  apart.    If  the  card  (weighted 

10 


up  His  Sleeve 


at  its  lower  edge)  is  dropped  into  the  case,  it  naturally  carries 
the  thread  down  with  it.  The  performer,  having  secured  the 
button,  walks  away  to  the  full  extent  of  the  thread,  which  he 
manipulates  as  is  necessary.  The  second,  or  jumping  card,  is 
contained  in  a  fake  that  was  described  in  Roterberg's  New  Era 
Card  Tricks.  This  is  a  metal  case,  open  at  the  top,  and  which, 
in  this  instance,  is  secured  to  the  rear  inner  side  of  hat.  Across 
the  open  mouth  passes  a  piece  of  elastic,  an  end  of  which  is 
fastened  to  each  edge  of  case.  Insertion  of  the  card  pushes 
the  elastic  down,  and  there  is,  also,  a  simple  lever  catch,  fast- 
ened to  the  front  of  the  case,  with  an  arm  bent  over  the  top. 
Pressure  on  the  longer  arm  (in  front)  draws  back  the  short 
one,  leaving  the  card  free,  to  be  shot  by  the  elastic  high  in  air. 


11 


Up  His  Sleeve 


"The  Secret  Tube" 

T  ET  me  tell  you  of  a  device  of  such  general  utility  as  to 
-■"^  warrant  its  very  serious  consideration  by  the  reader. 
Practically,  its  possibilities  are  unlimited.  By  its  use,  a  stout 
sheet  of  cardboard,  rolled  into  a  tube,  becomes  a  self-contained 
piece  of  apparatus  that  will  effectively  take  the  place  of  any 
previously  used  cylinder  or  canister  for  purposes  of  appearance, 
disappearance,  exchange,  or  transportation. 

First  describing  in  detail  its  application  to  the  case  of  a 
specific  trick,  I  shall  later  treat  briefly  of  its  effective  use  in 
certain  other  stock  feats.  As  the  example  given  will  embody 
painstaking  instruction  in  preparation  and  manipulation,  the 
reader  may  take  same  as  applying,  with  slight  variation,  to  all 
other  cases. 

"The  Growth  of  Flowers" 

In  the  realms  of  magic  there  is  no  effect  more  popular  than 
the  instantaneous  growth  of  real  flowers.  Setting  at  naught,  as 
it  does,  the  regular  process  of  nature,  it  is  as  impudent  as  it  is 
charming.  Previous  attempts  to  overcome  the  serious  draw- 
back of  the  long  tablecloths  have  generally  succeeded  in  add- 
ing complicity  to  the  construction  or  working.  By  far  the  best 
scheme  to  come  beneath  my  notice  is  that  of  Mr.  Ladson  Butler 
(''Sphinx" — Jan.,  1918).  I  prefer  my  own  method,  however, 
on  account  of  the  extreme  simplicity  of  the  objects  used. 

The  sand-filled  flower  pot  is  stood  on  a  small  table,  beneath 
which  there  is  no  possible  place  of  concealment.  Instead  of 
the  usual  suspicious  looking  cone  is  used  a  tube  openly  rolled 
from  a  large  sheet  of  cardboard,  both  sides  of  which  have  been 
shown.  The  tube,  kept  from  unrolling  by  a  rubber  band  is 
thrust  into  the  mouth  of  the  pot.    You  know  the  rest.    Seeds 

12 


up  His  Sleeve 


dropped  from  the  cylinder  grow  and  blossom  in  a  manner  to 
make  sick  with  envy  the  amateur  horticulturist. 


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Explanation — Briefly  told,  the  secret  consists  in  shifting 
from  one  side  of  the  sheet  to  the  other  a  tube  that  holds  the 
plant.  This  much,  while  turning  the  cardboard,  to  display  both 
sides.  The  cardboard  is  of  a  stout,  glazed  kind,  measuring 
about  24  inches  by  30  inches,  and  procurable  at  any  shop  stock- 
ing artists'  materials.  Suspended  by  short  lengths  of  tape,  to 
one  of  its  lesser  edges  is  a  tube  made  from  similar  stuff.  While 
the  diameter  of  this  ''secret  tube"  is  roughly  5  inches,  its 
length  is  several  inches  less  than  that  of  the  sheet  to  which  it 
is  attached.  The  main  sheet,  also,  is  reinforced  for  about  5 
inches  down  from  its  top  edge  by  another  strip,  that  reaches 
right  across  from  side  to  side.     (See  Fig.  1.) 

The  tube  carries  the  plant,  made  up  on  a  special  fake, 
which  may  now  be  fittingly  described. 

The  basis  of  the  plan  is  a  large  wooden  spool  with  one 
disc  removed.  Such  spools  carry  the  cheap  tapes  used  largely 
by  manufacturers  and  dry  goods  men.  The  ability  to  secure  one 


13 


Up  His  Sleeve 


will  save  the  experimenter  much  trouble  in  construction.  Down 
the  shaft  of  the  spool  runs  a  stick  or  cane,  equal  in  height  to 
that  of  the  proposed  plant.  This  rod  is  carefully  made  of  a 
thickness  to  just  grip  the  shaft,  without  either  jamming  or 
falling  out.  (See  Fig.  4.)  The  leaves  and  flowers  (daffodils, 
jonquils  or  chrysanthemums  are  most  easily  treated)  are  tied  to 
the  shaft  of  the  spool.  Starting  at  the  top,  the  operator  works 
in  rows,  until  the  foot  is  reached. 

Thus  arranged  and  with  its  base  to  the  left,  as  viewed 
in  Figure  1,  the  plant  reposes  in  the  "Secret  Tube".  The 
stick  is  drawn  up,  as  indicated  in  Figure  4.  It  will  be  readily 
understood,  however,  that  after  the  plant  has  been  dropped  on 
the  surface  of  the  sand  the  process  of  pushing  the  stick  from 
above  causes  it  to  enter  the  sand  and  hold  the  construction 
much  more  securely  than  would  be  the  case  with  a  leaden  base. 
(Fig.  5.) 

The  most  satisfactory  way  of  disposing  of  the  sheet  prior 
to  its  use  is  to  stand  it  upright  on  the  seat  of  a  chair,  resting 
against  the  back,  and  with  the  tube  hanging  behind  the  rail. 
An  alternative  method  is  to  rest  the  tube  on  a  table  or  chair 
seat,  with  the  paper  to  the  front  and  curled  backwards  over  the 
tube.     (Fig.  6.) 

Now  for  the  presentation.  After  showing  the  flower  pot 
the  performer  takes  sheet  with  a  hand  gripping  each  of  its 
longer  sides,  but  close  to  the  upper  corners.  Fingers  in  front 
and  thumbs  behind  and  advancing  toward  footlights  displaying 
one  side.  Now,  with  sheet  held  before  him  he,  in  effect,  merely 
turns  it  over  as  though  to  show  the  other  side.  This  is  what 
actually  happens.  While  the  left  hand,  maintaining  its  grip, 
keeps  the  upper  edge  about  level  with  the  chin,  the  right  shifts 
to  its  own  lowermost  corner.  Bending  the  sheet  upward  and 
outward  it  pauses  when  the  stage  is  reached,  as  indicated  in 
Figure  2.     The  left  hand  at  this  phase  should  be  holding  the 

14 


Up  His  Sleeve 


main  sheet  between  the  first  and  second  fingers,  with  the  thumb 
pressing  the  wall  of  tube  (from  without)  against  the  first 
finger.  Promptly  the  right  elbow  presses  against  its  own  end 
of  tube  and  steadies  the  same,  while  the  left  hand  lifts  it  over 
the  top  edge  of  paper. 

Without  a  moment's  pause  this  end  is  brought  downward 
to  the  rear,  completing  the  turn  and  leaving  the  tube  still  at 
the  back,  but  now  at  the  lower  edge  (Fig.  3).  While  the  left 
hand  holds  it  in  this  position,  the  right  rolls  the  paper  around  it 
in  cylinder  form.  The  cylinder  may  now  be  held  upright  or 
waved  casually  with  the  left  hand,  the  plant  being  kept  from 
falling  by  the  protruding  forefinger.  While  thus  held  it  is 
stood  in  the  pot.  Later  the  stick  is  thrust  downward  through 
the  sand  under  pretense  of  dropping  seeds  within  the  tube. 

Doubtless,  through  the  desire  to  be  conscientious,  I  have 
produced  a  rather  involved  piece  of  description.  The  reader, 
however,  has  my  positive  assurance  that  the  method  is  entirely 
practical  and  effective.  I  have  used  it  many  times,  both  in 
drawing  rooms  and  before  public  audiences.  On  more  occa- 
sions than  one  I  have  "grow^n"  a  Christmas  tree,  built  on  a 
telescopic  metal  frame,  that  ended  in  a  leaden  base. 

The  other  purposes  to  which  the  ''Secret  Tube"  may  be 
put  are  innumerable.  With  the  tube  closed  at  one  end,  it  be- 
comes the  carrying  medium  for  a  large  quantity  of  compressible 
goods,  cut  flowers  or  live  stock.  Applied  to  the  sheet  of  paper 
in  which  the  ''mutilated  sunshade"  is  wrapped,  it  makes  the 
exchange  more  artistic  than  any  agency  yet  devised.  By  its 
aid  a  perfect  trick  is  made  of  the  "Dyeing"  Plume.  In  this 
case,  the  tube  is  divided  lengthwise  into  two  compartments, 
opening  at  opposite  ends.  The  plume  first  shown  goes  in  at  top, 
while  one  of  different  color  is  drawn  from  its  place  of  conceal- 
ment at  the  other  end  of  cylinder. 

Again  the  tube  may  be  fitted  with  a  metal  receptacle  to 

15 


Up  His  Sleeve 


hold  liquid.  Think  of  its  usefulness,  so  prepared,  in  such  tricks 
as  ''The  Filtering  Ink"  or  the  much  more  ancient  "Pyramids 
of  Egypt".  So  great,  in  fact,  are  its  possibilities  that  to  pre- 
vent myself  from  committing  the  error  of  becoming  a  man  with 
but  one  idea,  I  have  had  to  put  a  check  to  my  inclinations  to 
use  it  as  a  means  to  all  ends. 


16 


Up  His  Sleeve 


The  Nest  of  Boxes 

"IT /"HAT  I  am  about  to  describe  is  the  outcome  of  consid- 
^  ^  erable  thought,  directed  towards  securing  a  perfect  and 
self-contained  method  of  performing  this  old  feat. 

In  effect,  a  lady's  ring  is  found,  after  its  disappearance, 
strung  in  a  peculiar  manner,  on  a  piece  of  ribbon  tied  to  a 
bouquet  in  the  innermost  of  a  nest  of  boxes.  All  the  boxes 
are  ordinary,  except  that  which  is  second  smallest  in  size.  This 
is  bottomless,  and  as  the  tapes  cannot,  in  this  case,  cross  the 
bottom,  recourse  is  made  to  the  customary  device.  The  tapes 
end  on  each  side  just  where  they  pass  beneath  the  box.  The 
boxes  are  now  nested,  with  this  box,  for  the  time  being,  as  the 
smallest  and  innermost  one.  Let  me  next  tell  of  the  smallest 
box  of  all,  and  in  which  the  ring  and  bouquet  will  finally  be 
found. 

Though  this  little  box  is  commonplace  enough,  it  must  be 
subjected  to  special  preparation.  The  tape  with  which  it  is 
tied  is  peculiarly  treated,  so  that  on  occasion  its  length  may  be 
reduced  about  one  inch.  To  that  portion  of  the  tape  which, 
when  in  action  will  be  below  the  box,  are  sewn  both  ends  of  a 
piece  of  flat  elastic.  The  elastic  lays  along  the  surface  of  the 
tape,  and  is  sewn  either  while  in  a  state  of  tension,  or  what 
brings  about  the  same  result,  while  the  tape  is  not  fully 
stretched.  It  will  now  be  plain  that  if  the  box  is  tied  without 
stretching  the  elastic,  the  appearance  of  things  from  above  is 
quite  ordinary.  The  lid  may,  nevertheless,  be  pried  open  to  the 
extent  of  about  one  inch,  and  kept  in  that  condition  by  the 
insertion  of  a  little  prop  of  wood.  When  the  latter  is  removed, 
the  elastic,  getting  to  work,  will  contract  the  tape  once  more, 
and  give  the  box  the  appearance  of  being  tied  with  as  much 
security  as  were  the  others.    The  bouquet  with  narrow  ribbon 

17 


up  His  Sleeve 


attached  should  have  been  placed  in  the  box  before  the  com- 
mencement of  these  preparations.  The  ribbon  should  be  about 
eight  inches  long.    While  one  end  is  tied  to  the  stalks  of  the 


bouquet  close  to  where  the  flowers  were  cut  from  the  plant,  the 
other  is  secured  as  near  as  possible  to  the  actual  blooms.  (See 
Fig.  2.)  The  result,  as  will  be  seen,  is  a  loop  of  fair  size.  With 
the  bulk  of  the  bouquet  in  the  box,  the  stalk  end  is  drawn  out 
through  the  space  made  by  the  propped-up  lid,  and  kept  from 
falling  back  by  being  jammed  between  the  tape  and  the  wooden 
prop.  All  that  now  remains  is  to  set  the  nest  of  boxes  on  the 
table  with  the  little  one  hidden  behind.    (See  Fig.  1.) 

Presentation 

The  table  should  be  on  the  performer's  right,  and  whatever 
means  of  disappearance  are  used  must  leave  the  ring,  finger 
palmed,  in  the  right  hand.  The  performer,  calling  attention  to 
what  he  describes  as  his  jewel  case,  lifts  the  nest  casually  from 
the  table.  (As  the  left  hand  is  in  front,  and  the  right  behind, 
nest  and  small  box  may  be  raised  together,  the  latter  being 


IS 


Up  His  Sleeve 


pressed  against  the  rearmost  side  of  the  outermost  of  the  nest.) 
Both  are  set  down  in  their  former  relative  position. 

While  the  left  hand  is  engaged  unfastening  the  tape  of 
largest  box,  the  right  quietly  pushes  the  ring  down  over  the 
projecting  stalks  of  the  flowers.  When  the  ring  is  as  far  down 
as  it  will  go,  the  bouquet  is  pushed  right  into  the  box,  an  action, 
also,  that  is  made  to  knock  away  the  little  prop.  Promptly  the 
lid  closes,  leaving  all  in  readiness  for  the  next  move.  As  each 
box  is  removed  from  the  next  in  size,  it  is  stood  on  the  latter. 
When,  however,  the  magician  reaches  the  bottomless  box,  he 
puts  it  down  behind  the  stack  and  over  the  smallest  box.  The 
pile  of  empty  boxes  is  immediately  removed,  as  though  to  make 
more  room  on  the  table.  When  the  tapes  of  the  bottomless  box 
have  been  untied,  the  little  one  is  taken  out  and  carried  for- 
ward. Holding  the  box  on  the  palm  of  the  left  hand,  the  per- 
former advances  to  the  lady  who  loaned  the  ring,  and  asks  her 
to  unfasten  the  knots,  and  raise  the  lid.  The  moment  the  bou- 
quet becomes  visible,  he  seizes  the  ribbon  daintily,  between  the 
fingers  of  the  right  hand,  and  shows  that  the  ring  is  quite 
securely  tied. 

When  I  have  told  how  this  last  operation  is  effected,  my 
task  will  be  done.  Naturally,  the  ring  when  pushed  along  the 
stalks,  will  have  passed  also,  over  the  ribbon.  As  the  performer 
picks  up  the  ribbon  at  a  point  between  the  ring  and  the  ends  of 
stalks,  the  position  will  be  as  shown  in  Figure  2.  The  ring  is 
next  gripped  between  the  tips  of  thumb  and  second  finger,  and 
the  bouquet  allowed  to  fall  until  it  meets  with  the  check  caused 
by  the  ribbon  catching  in  the  ring.  It  will  now  be  found  that 
the  ring  is  securely  tied,  in  the  peculiar  and  intricate  fashion 
shown  in  Figure  3.  Both  ring  and  bouquet  are  given  to  the 
lady,  and  box  and  tape  carried  away,  before  an  examination 
of  the  latter  reveals  the  fact  that  it  is  not  quite  as  innocent  as 
it  should  be. 

19 


up  His  Sleeve 


The  Rising  Cards 


T  T  WOULD  be  interesting  to  know  how  many  methods  exist 
-*"  for  the  execution  of  this  classic  in  conjuring.  My  excuse 
for  adding  one  more  to  the  number  is  that,  in  the  plan  to  be 
described,  each  card  rises  from  the  midst  of  its  companions, 
and  without  the  aid  of  apparatus.  After  the  ascent  of  a  card, 
the  selector  removes  same  from  the  deck. 

As  usual,  the  cards  are  brought  to  top  of  pack,  and  palmed 
off  if  the  latter  is  to  be  shuffled.  When  replaced,  they  are 
brought  once  more  to  center.    The  little  finger  keeps  its  place 


while  the  right  thumb  makes  a  "break"  by  bending  back  the 
rear  edge  of  upper  section  of  pack.    The  cards  may  now  be  care- 


20 


Up  His  Sleeve 


lessly  passed  from  hand  to  hand,  and  if  desired  spread  to  show 
that  those  chosen  are  not  in  evidence  at  top  or  bottom. 

Finally  the  deck  is  stood  face  to  audience  on  the  front 
joints  of  the  second  and  third  fingers  of  the  right  hand,  turned 
palm  upwards.  The  pack  is  supported  between  the  first  and 
little  fingers,  while  the  thumb  rests  lightly  on  top.  The  break 
is  found  with  the  thumb  tip  which  now  separates  the  two  sec- 
tions of  the  deck,  finally  pressing  slightly  forward  the  front 
part.  If  the  rear  half  is  allowed  to  fall  backwards  towards 
the  palm,  its  upper  edge  will  come  to  rest  in  the  thumb  fork. 
It  is  now  a  simple  matter  to  lower  the  thumb,  and  by  pressure 
with  its  tip,  raise  the  rearmost  card  of  the  front  part.  This 
operation  is  facilitated  by  the  fact  that  the  action  quite  natur- 
ally causes  the  rear  portion  of  deck  to  bend  into  arched  form. 
(See  Sketch.) 

When  the  card  has  risen  to  its  full  extent,  the  pack  is  seized 
by  the  left  hand,  fingers  in  front  and  thumb  behind ;  on  opera- 
tion that  brings  the  two  sections  together  once  more,  with  the 
chosen  card  still  projecting  at  one  end. 

The  enduring  popularity  of  this  magical  effect  is  easy  to 
understand.  What  is  more  difficult  of  comprehension  is  that, 
in  the  fact  of  many  admirable  and  simple  methods  that  exist, 
certain  magicians  should  waste  their  ingenuity  in  the  produc- 
tion of  new  and  highly  involved  schemes  that  add  nothing  to 
the  effect.  An  improvement  must  do  one  of  two  things — sim- 
plify the  execution,  or  produce  greater  effect.  If  it  combines 
both  qualities,  it  is  an  improvement,  indeed.  I  shudder  when 
I  think  of  some  of  the  costly  and  elaborate  arrangements  I  have 
seen  described,  having  for  their  object  the  lifting  of  a  card  two 
inches  above  the  pack.  It  has  not  come  yet,  but  I  am  keeping 
my  eyes  open,  and  I  know  that  some  day  I  shall  see  recom- 
mended as  a  lifting  agency,  mule  power,  steam,  or  the  principle 

21 


up  His  Sleeve 


of  internal  combustion.  The  various  attempts,  also,  to  secure  a 
satisfactory  means  for  the  rise  of  any  card  called  for,  I  look  on 
as  equally  futile.  Of  what  use  is  it  to  strive  for  this  end,  when 
the  audience  in  the  ordinary  way  imagines  that  it  is  getting  a 
free  selection?  What  is  here  written  of  the  ''Rising  Cards" 
applies  equally  well  to  other  feats.  Conjuring,  at  the  best,  is 
a  harassing  pastime,  and  the  less  its  exponents  have  to  worry 
over  in  the  way  of  execution,  the  more  attention  can  they  give 
to  what  is  all  important,  viz..  Presentation. 


22 


Up  His  Sleeve 


The  Mountain  of  Flags 

'T^HOUGH  the  use  of  flags,  in  conjunction  with  telescopic 
-■'  staves,  has  become  very  hackneyed  indeed,  the  feat  of 
producing  hundreds  of  flags,  each  with  its  own  stick,  is  now 
rarely  seen.  Doubtless,  the  difficulty  of  manipulating  so  many 
flags  to  good  advantage  is  responsible  for  this  neglect ;  though 
the  older  production,  well  presented,  is  immeasurably  more 
graceful  and  mysterious. 

The  arrangement  to  be  described  is  the  outcome  of  twenty 
years'  desultory  experiment  in  the  direction  of  securing  the 
utmost  effect,  by  the  simplest  possible  means.  Perhaps  it  will 
seem  unconvincing  to  the  reader,  by  reason  of  its  very  sim- 
plicity. He  is  reminded,  however,  that,  so  long  as  there  is  no 
sacrifice  of  effect,  simplicity  in  conjuring  is  of  utmost  impor- 
tance. Also,  that  the  gradual  process  of  evolution,  from  the 
complex  to  the  simple,  is  one  that  calls  for  both  thought  and 
labor.  I  dwell  on  this  point  because  I  wish  to  impress  the 
reader  with  the  value  of  the  scheme  under  treatment.  The 
results  obtained  are: 

1.  An  indetectable  means  of  obtaining  the  first  load,  which 
in  itself  is  so  large  as  to  provide  ample  cover  for  the  securing 
and  development  of  the  next  lot. 

2.  The  almost  instantaneous  development  of  each  set,  with 
every  flag  properly  displayed,  and  a  corresponding  reduction  in 
the  number  of  flags  needed. 

3.  The  ability  throughout  to  hold  all  sets  in  the  left  hand 
piled  one  above  the  other,  and  with  the  right  hand  left  free  to 
secure  the  loads,  and  if  desired,  a  flag  or  telescopic  staff  at 
conclusion. 

Let  us  imagine  that  the  magician  had  created  three  small 
silk   handkerchiefs,   together  forming  the   patriotic   tri-color. 

23 


Up  His  Sleeve 


When  waved  between  the  hands,  these  silks  enlarge  to  about 
36  inches  square.  After  being  drawn,  in  turn,  through  the  right 
and  left  hands,  the  rope-like  combination  of  silks  is  folded  in 
half,  and  held  in  front  of  the  body.  It  will  be  noticed  that  in 
this  condition,  the  silks  seemingly  provide  very  little  cover  for 
loading.  From  the  top  of  the  hanging  bundle  there  now 
emerges,  like  the  gradual  opening  of  a  flower  and  with  a  beau- 
tiful fluttering  effect,  a  cluster  of  flags,  that  expands  to  a 


H 


i 


'BacJ'  o/  ^ei  I.  a/ifr  Pfoc/u»h'on . 

B-CorJio  Sudd  or ^  ne^^  Se^> 

C  C—  'VhreaJ co/f/fficifhf  fa/r  t- s/'/A's , 

(ma^/tparir  of  ihrea</is  m  ^rcn^  of  /a^) 


Shoui/rrj  Sachls  offer  eroe/oef/on 
of   l/iree  sefs  . 


from  loaaino  pocket 


trophy  of  fair  size.  Above  this  rises  another,  and  then  a  third, 
each  of  gradually  increasing  size,  till  the  climax  finds  the  per- 
former hidden  in  a  glorious  shimmering  mass  of  silk  flags  and, 
waving  above  his  head,  an  enormous  flag  on  a  long  staff. 

If  the  last  effect  be  eliminated,  the  method  admits  of  the 


24 


Up  His  Sleeve 


production  of  a  fourth  set  of  flags,  making  the  final  pile,  about 
six  feet  high. 

General  Explanation. 

The  flags  may,  if  desired,  be  made  straight  out,  from  silk 
in  the  allied  colors.  The  easiest  plan,  however,  is  to  procure 
Japanese  silk  flags,  and  discard  the  bamboo  staves  to  which 
they  are  attached.  (I  am  taking  it  for  granted  that  these  flags 
are  obtainable  in  America,  as  they  are  here.)  For  each  set 
of  flags,  also,  a  stout  Japanese  fan  is  needed.  These  may 
vary  from  10  or  12  inches  for  the  smallest  to  24  to  25  inches 
for  the  largest  size.  Such  fans  take  the  place  of  staves  as  the 
supporting  medium  for  the  flags.  The  one  size  in  flags  may  be 
used  throughout,  or  they  may,  like  the  fans,  be  graduated,  the 
largest  fan  naturally  carrying  the  biggest  flag. 

Starting  with  the  smallest  size,  a  flag  is  gummed  by  its 
shorter  edge  to  each  of  the  folds  and  at  top.  If  only  one  size 
in  flags  is  used,  it  will  be  found  that  the  largest  fan  will  carry 
two  rows.  By  the  time  the  reader  has  covered  one  fan,  he  will 
be  in  a  position  to  appreciate  the  beauty  of  the  arrangement. 
It  will  be  noticed,  however,  that  the  top  of  the  trophy  pos- 
sesses a  regularity  of  curve  that  is  aggressively  suggestive  of  a 
fan.  This  is  overcome  by  cutting  from  the  paper  between  each 
flag,  an  elongated  and  inverted  triangle,  leaving  the  mass  with 
the  appearance  of  being  supported  by  many  staves. 

If  the  reader  has  ever  closely  examined  the  construction  of 
a  Japanese  fan,  he  will  know  that  the  ribs  do  not  actually  reach 
the  top.  It  is  necessary,  therefore,  to  strengthen  the  structure, 
by  glueing  and  binding  to  the  central  rib  a  thin  strip  of  bamboo, 
that  will  reach  to  the  top  of  the  fan.  Furthermore,  it  is  neces- 
sary to  tie  a  short  length  of  stout  silk  cord  to  a  rib  about  three 
removed  from  the  center,  and  carrying  it  across,  fasten  it  to  the 
corresponding  rib  on  the  other  side.     (See  Fig.  1.)     When  the 

26 


Up  His  Sleeve 


fan  is  stretched  to  its  full  extent,  the  cord  should  be  taut.  This 
cord  is  the  very  simple  medium  by  which,  during  the  produc- 
tion, one  set  of  flags  is  kept  supported,  and  showing  above 
the  other.  Actually  the  butt  or  pivoted  end  of  one  fan  rests 
on  the  cord  of  the  fan  beneath  it.  The  treatment  is  not  neces- 
sary in  the  case  of  the  largest  and  uppermost  fan.  A  fan,  by 
reason  of  its  construction,  has  considerable  lasting  power.  It 
is  advisable,  however,  to  add  to  the  life  of  each  fan  by  giving 
the  back  a  coat  of  light  size. 
Preparation : 

Set  1.     (The  smallest  size,  produced  first.) 

One  end  of  a  strong  silk  thread  is  sewn  to  a  corner  of  each 
of  the  three  large  handkerchiefs,  and  the  other  end  tied  to  the 
top  of  the  bamboo  strip,  added  as  a  stay  to  the  fan.  The  thread 
should  be  rather  longer  than  any  one  of  the  ribs  of  the  fan,  so 
that  when  the  latter  is  opened,  and  the  thread  brought  to  the 
front,  the  three  large  silks  appear  to  hang  from  the  rivet  end 
of  fan — i.  e.,  from  the  performer's  hand  as  it  holds  the  fan. 
The  three  silks  are  next  folded  into  a  compact  bundle,  secured 
by  a  rubber  band,  and  tucked  into  the  top  of  the  left  side 
trouser  pocket.  The  fan,  with  the  flags  rolled  loosely  around 
it,  is  stood,  flag  end  upwards,  in  the  breast  loading  pocket,  on 
the  same  side.  (This  is  the  usual  ''Rabbit"  pocket,  with  vertical 
opening.  The  connecting  thread  will  be  found  just  long  enough 
to  admit  of  the  arrangement.) 

Set  2.     (Medium  Size.) 

The  performer  wears,  around  his  waist  and  over  the  shirt, 
a  belt  of  one  inch  garter  elastic,  into  which  set  two  is  tucked, 
flag  end  downwards,  and  with  the  upper  end  thrust  under  the 
brace  suspender,  on  left  side,  close  to  armpit. 

Set  3.     (Largest  Size.) 

Similarly  arranged  on  right  side. 

If  the  feat  is  to  end  with  the  production  of  the  large  flag 

26 


Up  His  Sleeve 


on  telescopic  staff,  the  latter,  closed,  is  put  butt  end  downwards 
in  the  ordinary  vest  left  side  pocket.  The  loose  flag  is  pushed 
into  the  sleeve  at  armhole.  This  is  the  simplest  possible  method 
of  bestowing  the  flag,  and  entirely  satisfactory,  the  usual  throw- 
ing action  being  quite  sufficient  to  draw  the  flag  from  the  sleeve. 
Where  the  large  flag  is  discarded  in  favor  of  a  fourth  set,  the 
two  intermediate  sizes  are  stowed  under  the  vest,  on  the  left 
side,  the  largest  fan  being  on  the  right  side,  as  in  the  former 
arrangement. 

When  making  up  my  own  set,  I  was  able  to  obtain,  for 
the  largest  size,  a  fan  of  peculiar  shape,  designed,  no  doubt,  for 
use  as  a  fire  screen.  In  this  article,  the  wooden  side  pieces 
are  not  nearly  so  long,  as  the  whole  fan,  when  closed.  If  the 
experimenter  is  forced  to  use  the  more  conventional  fan  he  will 
need,  in  the  case  of  the  largest  size,  to  reduce  the  length  of  the 
woodwork  this  much,  to  give  pliability  to  the  load,  when  worn 
under  the  clothes. 

Presentation. 

Having  obtained  the  three  small  silks,  hold  them  in  the 
extended  right  hand.  While  the  general  attention  is  drawn  to 
them,  quickly  secure  the  bundle  of  large  handkerchiefs  from 
the  top  of  L.  S.  trouser  pocket.  This  may  be  done  by  direct 
palming  from  the  pocket,  or  by  hooking  the  left  thumb  under 
the  connecting  thread,  and  drawing  on  same  till  the  bundle 
comes  into  the  fingers.  Turning  to  face  audience,  roll  the  small 
silks  into  a  ball,  and  conceal  in  the  left  hand  under  the  larger 
bundle.  Free  the  latter  of  its  encircling  band,  and  gradually 
develop,  allowing  the  silks  to  hang  by  the  joined  corner  from 
the  left  hand,  held  as  high  as  the  thread  permits.  Run  the 
silks  a  couple  of  times  through  the  right  hand.  Now,  read  care- 
fully, please ! 

27 


Up  His  Sleeve 


The  right  hand  encircles  the  silks  at  the  point  of  their 
upper  end,  formerly  occupied  by  the  left,  the  right  thumb  be« 
ing  under  the  thread.  The  left  hand  now  grips  the  handker- 
chiefs,  at  a  spot  just  beneath  the  right,  and  with  the  thumb  over 
the  thread.  Apparently,  the  silks  are  merely  drawn  upwards, 
through  the  left  hand.  As,  however,  the  set  in  the  loading 
pocket  is  attached  to  the  upper  corners  of  silks,  it  is  drawn 
from  its  place  of  concealment,  and  immediately  behind  the 
hanging  handkerchiefs.  The  feat  would  not  be  practicable  with 
so  little  cover,  were  it  not  for  the  fact  that  the  left  thumb  and 
fingers,  encircling  both  thread  and  silks,  guide  the  load  unerr- 
ingly into  position. 

Still  facing  audience,  let  the  upper  half  of  combined  silks 
fall  to  front  over  left  hand,  then  with  a  series  of  fluttering 
shakes,  push  the  fan  up  through  the  left  hand,  spreading  it  as 
it  goes.  (This  knack  of  opening  each  fan,  with  one  hand,  is  im- 
portant, and  must  be  early  acquired.  The  fan  is  never  thrown 
open  in  the  customary  manner,  but  is  developed  to  left  and 
right  simultaneously,  the  thumb  drawing  one  edge  back,  while 
the  fingers  push  the  other  forward.  Thus  is  set  up  the  appear- 
ance of  the  flags  opening  from  a  common  center.)  When  the 
set  is  fully  developed,  strike  a  momentary  pose,  with  the  right 
foot  back,  chest  thrown  out,  and  flags  lightly  touching  the 
breast.  The  position,  if  sustained  only  for  a  few  seconds,  is 
natural  under  the  circumstances.  Quickly,  under  cover  of  the 
flags,  the  right  hand  enters  the  vest,  and  as  soon  as  the  handle 
of  Set  2  is  secured,  a  quick  turn  is  made  to  the  right,  and  the 
second  size  drawn  out  and  held  behind  the  first.  Gaze  for  a 
moment  at  the  flags,  then  turn  quickly  and  face  the  audience 
once  more.  Develop  Set  2,  and  when  fully  open,  push  it  slowly 
up  above  the  first  lot,  not  to  an  extent  that  will  display  the 
lower  part  of  the  fan,  but  sufficiently  high  to  permit  of  the 
butt  end  being  rested  on  the  cord. 

28 


Up  His  Sleeve 


There  is  now  so  much  cover  that  later  productions  become 
very  easy  indeed. 

Throughout  the  production,  the  flags  should  be  kept,  as 
much  as  possible,  in  a  constant  flutter,  a  condition  that  adds 
greatly  to  the  effect. 

Although,  in  the  eyes  of  the  audience,  many  hundreds  of 
flags  are  employed,  the  quantity  is  actually  much  less.  In 
fact,  in  my  own  case,  ninety  flags,  spread  over  four  fans,  make 
a  densely  packed  mass. 


'^\ 


Up  His  Sleeve 


"A  Four  Ace  Climax" 

'nr^  HIS  idea  is  used  by  the  writer  as  a  showy  finish  to  a  series 
-■'  of  four  ace  tricks,  and  is  really  an  amplification  of  the 
Revolution  Card  Trick.  At  the  conclusion  of  the  last  effect,  the 
aces  are  replaced  in  the  pack,  which  is  straightway  shuffled  by 
a  spectator  or  the  performer  himself.  The  pack  is  next  divided 
into  four  packets,  arranged  in  a  row  on  the  table. 

''Somewhere,  or  other,"  says  the  magician,  "distributed 
through  those  four  packets  are  the  aces — exactly  where,  no 
man  can  tell,  but  it  doesn't  matter — the  aces  will  reveal  them- 
selves." As  he  gives  utterance  to  the  last  sentence,  he  picks 
up  one  of  the  packets  and  throws  it  smartly  down  again  to  the 
table  top.  As  it  touches  the  latter,  the  ace,  with  quaint  effect, 
appears  on  top  of  the  packet,  turned  face  uppermost.  This 
action  is  repeated,  with  like  results,  in  the  case  of  all  three 
remaining  packets. 
Explanation. 

Whether  the  aces  are  inserted  in  the  deck  separately,  or 
all  together  is  a  matter  for  individual  choice.  In  any  case, 
they  are  brought  to  the  top,  and  palmed  off,  if  the  shuffling  is  to 
be  executed  by  a  spectator,  or  kept  under  control,  if  the  magi- 
cian intends  doing  it  himself.  At  conclusion  the  aces  are  left 
on  top  of  pack,  which  is  next  laid  on  the  left  hand,  with  the 
fingers  pressing  on  top  card.  About  three-quarters  of  the  cards 
are  now  raised  in  book  fashion,  and  the  smaller  and  lower  por- 
tion drawn  away  by  the  left  hand,  and  placed  on  table.  In 
reality,  the  fingers  of  that  hand,  pressing  on  top  card  (one  of 
the  aces)  draw  it  down  by  means  of  the  old  ''slip"  pass 
(Modem  Magic,  p.  35)  so  that  it  becomes  the  uppermost  one  of 
the  lower  packet.  The  same  manoeuvre  is  repeated  for  the  sec- 
ond and  third  packets,  the  fourth,  having  the  last  of  the  aces 

30 


Up  His  Sleeve 


already  on  top,  being  merely  laid  in  row,  with  the  others.  Each 
packet  is  picked  up  with  the  left  hand,  and  transferred  to  the 
other,  the  ace  on  top,  being  pushed  by  the  left  thumb,  so  as  to 
project  about  three-quarters  of  an  inch  over  right  edge  of  pack. 
The  little  packet  is  then  thrown  by  the  right  hand,  with  a  smart 
slap  onto  table  top,  with  the  well  known  result  of  causing  the 
top  card  to  turn  over. 


31 


Up  His  Sleeve 


The  **Turn  Over"  Force 

THE  purpose  of  this  sleight  is  to  force  a  number  of  cards  at 
once.    A  spectator  cuts  the  pack  as  it  rests  on  the  magi- 
cian's  left  hand.    The  precise  number  of  cards  needed  for  the 
trick  are  then  dealt  by  the  performer  to  as  many  persons. 
Explanation. 

Before  handing  the  pack  to  be  shuffled,  the  magician 
palms  off  not  only  those  to  be  forced,  but  at  least  one  other 
ordinary  card.  On  taking  the  deck  again,  instead  of  replacing 
the  palmed  cards  on  top  in  the  usual  manner,  he  places  the  deck 
on  the  cards.  The  natural  result  of  this  operation  is  that  when 
the  pack  is  turned  backs  uppermost  the  recently  palmed  cards 
are  at  bottom,  and  fall  uppermost.  The  pack  is  rested  on  the 
open  left  hand,  with  the  thumb  underneath,  and  in  readiness 
for  the  ''Turnover".  Immediately  the  assisting  gentleman, 
divides  the  pack,  and  when  he  raises  the  upper  portion  clear 
of  the  lower,  the  ''Turnover"  is  made,  bringing  the  cards  to  be 
forced  back  uppermost,  and  on  top.  When  they  have  been 
distributed,  the  extra  card  remains  behind,  concealing  the  fact 
that  all  other  cards  are  now  face  upwards. 


32 


Up  His  Sleeve 


The  "Rainbow"  Force 

THE  cards  are  spread,  with  a  vigorous  sweep,  in  a  semi- 
circle on  the  table,  and  a  person  asked  to  pick  a  card  from 
the  number.  Despite  the  fact  that  special  arrangement  seems 
out  of  the  question,  the  card  selected  is  practically  certain  to  be 
that  needed  for  the  requirements  of  the  trick. 
Explanation. 

The  card,  formerly  on  top,  is  brought  by  the  pass  to  the 
center,  and  before  the  pack  is  closed,  slid  back  about  three- 
quarters  of  an  inch  by  slight  pressure  from  the  tip  of  the  right 
thumb.  Thus,  the  card  will  be  left  ''jogged"  at  rear.  When 
spreading  cards  on  the  table,  in  the  ordinary  way,  the  thumb 
grips  the  pack  at  left  side  and  fingers  at  right.  In  this  case, 
however,  the  positions  are  reversed,  the  pack  being  held  be- 
tween fingers  at  left,  and  thumb  at  right  side.  The  conse- 
quence is,  that  when  the  cards  are  spread  with  a  semi-circular 
sweep  the  rearmost  end  is  brought  to  the  front,  and  the 
"jagged"  card  left  projecting  beyond  the  otherwise  even  arc 
line  to  an  extent  that  makes  its  selection  almost  a  certainty. 


33 


Up  His  Sleeve 


Full  or  Empty 

THIS  is  not  an  original  item.  As  a  matter  of  fact,  it  was 
shown  me  many  years  ago  by  a  layman.  Curiously  enough, 
though,  for  twenty-five  j^ears  I  have  been  a  close  follower  of 
magical  literature,  I  have  not  come  across  it  in  print.  I  give 
it  publicity  here,  because  it  deserves  to  be  known.  At  the 
same  time,  I  offer  my  compliments  to  the  unknown  author. 

Three  match  boxes  are  placed  in  a  row  on  table.  These 
are  of  the  small  cylindrical  type,  in  which  wax  vestas  are  gen- 
erally sold.  Performer  picks  up  the  box  on  extreme  left,  and 
shakes  it  (no  sound) — "empty";  takes  up  the  center  one,  and 
shakes  that  also  (no  sound) — "empty".  "When  the  box  on  the 
right  is  shaken  there  is  heard  the  unmistakable  rattle  of 
matches.  "Full,  or  partly  so."  Now,  while  the  magician 
keeps  up  a  stream  of  jerky  patter,  he  constantly  changes  the 
positions  of  the  boxes,  after  the  manner  of  a  demonstrator  of 
the  three  card  or  thimble  tricks.  Like  the  latter  gentleman, 
also,  he  challenges  an  onlooker  to  find  the  "full"  box.  Despite 
the  fact  that  it  has,  apparently,  been  an  easy  task  to  follow  the 
shifting  positions  of  the  box,  the  spectator  fails.  Nor  is  this 
surprising.  All  the  visible  boxes  are  empty,  but  the  performer 
holds  in  his  right  hand  a  fourth  box,  partly  filled  with  matches. 
When  a  box  is  to  appear  empty  it  is  shaken  by  the  left  hand. 
If  it  is  to  seem  full,  the  right  hand  comes  into  action. 

The  misdirection  is  so  good  as  to  make  a  perfect  piece  o:^ 
sense  deception.  As  to  whether,  at  beginning  or  end,  one  of 
the  empty  boxes  is,  or  is  not,  changed  for  the  full  one,  is  a 
matter  for  the  decision  of  the  individual  performer. 


34 


Up  His  Sleeve 


The  Big  Production 

THE  value  of  this  arrangement  is  obvious.  By  its  aid,  the 
performer  has  a  perfectly  self-contained  and  easy  method 
of  producing  from  a  cloth,  objects  so  large  as  previously  to  need 
the  ample  shelter  of  a  Chinese  robe.  A  glance  at  Figure  1  will 
show  the  load  hanging  behind  the  cloth.  From  corner  to  corner 
of  the  upper  edge  is  stretched  a  length  of  fine  silk  line,  to  the 
center  of  which  is  fastened  a  shorter  piece  supporting  the  load. 
Buttons  make  the  upper  corners  readily  found,  and  provide, 
also,  a  secure  grip  for  the  magician's  fingers.    The  silk  line  is 


7Jd  2. 


Troni  of c/?a!r 


^ack  ofcha/r. 


lookHiqal Mc 


"Basket- 


7.gS. 


7i^6 .  S 


not  merely  fastened  to  the  corners,  but  is  passed  through  a  hem 
along  the  top  edge  of  muffler.    This  is  made  necessary  by  the 


35 


Up  His  Sleeve 


fact  that  the  cloth  at  times  has  to  bear  the  strain  of  consider- 
able weight.  The  short  end  of  cord  is  finished  off  by  a  metal 
ring,  to  which  the  load  may  be  attached.  With  this  ring,  also, 
the  load  is  hung  on  a  headless  nail  driven  into  the  back  of  the 
top  rail  of  a  chair.  If  the  chair  back  is  not  naturally  opaque, 
it  must  be  temporarily  rendered  so  by  some  form  of  covering. 
The  attached  muffler,  roughly  pleated  with  the  two  buttoned 
corners  together,  is  hung  over  the  back  of  chair,  the  corded 
end  being  behind  same.     (Figures  2  and  3.) 

In  presentation,  the  performer  stands  to  the  left  of  chair, 
and  picks  up  the  muffler  by  the  free  end,  that  hangs  to  the 
front.  This  end  is  now  lifted  as  high  in  the  air  as  the  con- 
necting cords  make  possible.  With  the  muffler  in  its  ''closed" 
or  pleated  condition,  there  is  a  play  of  line  so  considerable  as 
to  make  possible  its  easy  handling  without  any  suggestion  of 
attachment.  (Fig.  4.)  The  right  hand  next  runs  down  the 
cloth  till  the  buttons  are  reached.  This  is  the  critical  moment. 
The  left  hand,  dropping  the  upper  end,  which  naturally  falls 
to  the  front,  joins  the  right  hand,  in  opening  out  the  muffler. 
This  is  done  Avith  a  brisk  action,  at  once  backwards  and  up- 
wards, that  straightens  out  the  line,  and  lifts  the  load  from  the 
nail  to  hang  behind  the  cloth.  (Fig.  1.)  (These  processes  are 
almost  impossible  to  describe  in  a  manner  to  convey  instantly 
to  the  reader's  mind  a  clear  idea  of  the  action.  A  trial,  how- 
ever, with  a  handkerchief,  roughly  fixed  up,  will  make  plain  the 
principle  underlying  the  idea.)  Without  a  moment's  pause, 
the  magician  walks  forward,  with  the  cloth  held  stretched  be- 
fore him.  Coming  to  a  halt,  he  stoops  and  spreads  the  muffler, 
apron  fashion  around  his  knees,  a  manoeuvre  that  serves  to 
demonstrate  the  fact  that  it  contains  nothing.  (The  load  is 
swung  between  the  parted  legs,  which  are  then  slightly  closed, 
so  that  the  load  rests  behind  the  knees.)     Once  more,  the  per- 

36 


up  His  Sleeve 


former  stands  erect,  and  after  shaking  and  waving  the  cloth, 
throws  it,  finally,  either  over  his  left  hand,  or  an  uncovered 
table.  As  soon  as  the  spectators  become  aware  of  the  fact  that 
some  solid  object  is  beneath  the  cloth,  the  latter  is  removed, 
revealing  the  load. 

Of  the  objects  best  suited  for  the  production,  I  enumerate 
the  following : 

1.  A  basket  overflowing  with  cut  flowers. 

2.  A  large  china  bowl,  filled  with  water. 

3.  An  immense  Chinese  lantern,  electrically  lighted.  The 
dry  cell  fixed  in  the  bottom  of  lantern  serves  by  its  weight, 
to  open  the  lantern  fully.  The  opening  of  the  lantern,  also, 
by  putting  a  strain  on  a  cord,  attached  to  the  switch,  automat- 
ically puts  on  the  light. 

4.  A  large  folding  bird  cage. 

I  propose  to  describe,  in  detail,  the  arrangements  for  Nos. 
1  and  2,  leaving  the  others  to  the  ingenuity  of  the  reader. 

A  Basket  of  Flowers 
The  basket,  broad  and  shallow,  is  lined  with  green  silk,  or 
muslin.  As  it  is  intended  that  the  flowers,  when  produced,  shall 
rise  well  above  the  upper  edge,  the  basket  contains  a  spiral 
spring,  conical  in  shape,  and  covered  with  the  green  material. 
To  the  apex,  or  small  end  of  the  spring,  is  fixed  a  short  piece 
of  wire  ending  in  a  ring.  When  the  spring  is  depressed,  the 
ring  may  be  passed  through  a  hole  in  bottom  of  basket.  A 
hatpin  passed  through  the  ring  holds  it  temporarily  in  place. 
(See  Fig.  5.)  The  flow^ers  are  kept  in  the  basket  by  a  cover, 
made  of  fabric  similar  to  the  muffler,  and  having  a  hemmed 
edge,  through  which  runs  an  elastic  cord.  This  cover,  which 
fits  over  the  basket  after  the  manner  of  the  rubber  covers  in 
the  fish  bowl  trick,  is  connected  by  a  cord,  to  the  head  of  the 

37 


Up  His  Sleeve 


hatpin.  The  operation  of  removing  the  cover  with  the  muffler 
by  withdrawing  the  pin,  frees  the  spring  and  allows  the  flowers 
to  rise. 

The  Big  Bowl 

The  bowl  should  be  broad  and  shallow,  with  a  rolled  or 
turned-over  edge.  The  cover  is  made  from  a  piece  of  light 
waterproofed  material,  and  has  a  hemmed  edge,  through  which 
passes  a  fine  strong  cord.  Both  ends  of  the  line,  after  emerging 
from  a  cut  in  the  hem,  pass  through  a  loose  ring,  to  the  support- 
ing cord  of  the  handkerchief.  The  bowl  should  be  almost  full 
of  water,  on  which  floats  a  few  oranges  or  toy  celluloid  ducks. 
The  very  considerable  weight  of  the  bowl  and  water  will  stretch 
the  cord  so  tightly  behind  the  rolled  rim  as  to  eliminate  all 
possibility  of  leakage.  The  muffler  should  be  thrown  over  a 
stool  or  uncovered  table.  The  removal  of  the  cover,  with  the 
muffler,  is  an  easy  matter,  once  the  strain  caused  by  the  weight 
is  relaxed. 


38 


up  His  Sleeve 


"The  Fourth  Dimension" 

DOUBTLESS,  ladies  and  gentlemen,  you  are  familiar  with 
what  is  known  as  the  theory  of  the  Fourth  Dimension.  As 
mortals,  w^e  have  a  power  of  vision  only  over  three  dimen- 
sions— length,  breadth  and  depth.  Scientists,  however,  have 
long  considered  it  possible  that  beings  of  a  higher  civilization 
than  ours — say  the  dwellers  on  another  planet — possess  control 
of  a  Fourth  Dimension.  That  is  to  say,  they  have  the  power 
of  seeing  inwards. 

"I  can  assure  you  that  such  a  faculty  exists,  because  I 
possess  it  myself. 

''Take  this  pack  of  cards,  just  shuffled.  As  I  hold  it  on 
my  palm,  you  can  measure,  with  the  eye,  its  length,  breadth 
and  depth.  I  can  do  more  than  that.  I  can  look  into  it,  and 
see  any  card  at  any  position.  Somebody  mention  a  number,  say, 
between  three  and  ten.  Seven !  Thanks !  Looking  downwards, 
into  the  pack,  my  gaze  pierces  through  all  the  intervening  cards 
and  tells  me  that  the  seventh  is  the  five  of  hearts.  Please  take 
the  pack  and  count  down  yourself.  Correct !  Thank  you ! 
Now  a  larger  number,  please?  Say  one  between  ten  and 
twenty,"  and  so  on. 

I  present  the  above  simply  as  a  new  mise-en-scene,  that  may 
be  made  to  cover  many  known  feats. 

The  reader  will  readily  recognize,  in  the  example  just 
given,  the  methods  used  for  the  old  feat  of  finding  a  card  at 
any  given  number  in  the  pack.  The  ruses  used  to  obtain  this 
effect  are  so  many  and  varied  that  I  leave  it  to  the  reader  to 
select  from  his  own  knowledge  or  literature. 

Also,  the  feat  may  be  easily  produced  by  means  of  De- 
Land's ''Dollar  Deck". 

The  patter  is  admirably  suited  for  use  in  connection  with 

39 


Up  His  Sleeve 


any  one  of  the  feats  consisting  in  the  naming  of  objects  con- 
cealed in  a  box  or  other  receptacle.  Of  such,  the  following 
will  be  found  in  Thayer's  Catalog: 

The  Chaldean  Mummies, 

The  Mento  Mystery, 

The  Mysterious  Clock, 

The  Mystic  Ballot, 

The  Box  of  Numbers. 

I  would  suggest  that  the  performer  start  with  the  card 
trick  and  finish  with  one  or  other  of  the  pieces  of  apparatus 
mentioned. 

There  is  no  doubt  that  for  really  artistic  magic  presentation 
each  trick  should  have  its  own  plot,  told  in  words  as  few  and 
as  simple  as  possible.  Such  a  plan  adds  interest  and  romance  to 
the  performance.  Also,  the  intelligence  of  the  audience  is  mis- 
directed from  the  simple  means  of  deception  used,  and  sent  on 
a  wild  goose  chase,  in  the  regions  of  the  doubtful  probable. 
Most  magicians  seem  to  lack,  altogether,  this  knack  of  patter 
building.  How  is  it  done?  Natural  qualities  of  imagination 
must,  of  course,  help  a  great  deal.  Still,  the  power  of  patter 
writing,  like  other  qualities,  may  be  developed  by  systematic 
effort. 

Take  any  trick  to  be  treated,   and  ask  yourself,  what   is 
suggested  by 

1.  The  appearance  of  the  objects. 

2.  Their  everyday  use  (if  any). 

3.  The  actual  effect  of  the  illusion. 

The  answer  to  one,  or  more — possibly  a  combination  of  all 
three  of  these  queries — should  suggest  a  theme  that  may  be 
worked  into  a  story,  appropriate  to  the  effect.  Though,  at  the 
outset,  it  may  be  just  a  rough  sketch,  later,  for  magical  pur- 
poses, it  must  be  pruned  and  trimmed  to  fit  the  action,  and 
working  to  a  definite  climax,  describe  the  effect  of  the  experi- 
ment. 

40 


Up  His  Sleeve 


Charlie  Chaplin  and  **Spooky  Ookum" 

T  TERE  is  an  idea  that  turns  to  droll  and  effective  use  the 
^  -*■  ingenious  little  Thayer  specialty  known  as  "Spooky 
Ookum". 

In  the  beginning,  a  sheet  of  cartridge  paper,  about  equal 
in  size  to  a  leaf  torn  from  a  writing  pad,  is  rolled  tube  fashion 
after  both  sides  have  been  shown.  The  paper  cylinder  is  stood 
on  a  plate  to  the  performer's  left.  The  little  "Spooky  Ookum" 
tube  is  next  displayed  and  stood  on  right  side  table.  Into  the 
wooden  tube  is  lowered  a  model  of  he  who  is  greater  than 
kings — Charlie  Chaplin,  to-wit:  Slipping  his  left  hand  under 
the  "Spooky  Ookum"  the  magician  removes  it  from  table,  and 
walks  towards  audience.  Understand  that  the  apparatus  stands 
on  the  palm  of  performer's  left  hand.  Dipping  his  right  hand 
fingers  into  top  of  tube,  he  raises  the  figure  by  its  head,  and 
having  given  proof  of  its  presence,  lets  it  drop  back  again.  A 
moment  later  he  blows  into  the  tube,  and  immediately  after- 
wards shows  it  empty.  When  the  paper  cylinder  is  picked  up 
with  a  jerk,  the  little  figure  bobs  up  suddenly,  then  falls  back 
again.  With  successive  jerks,  it  is  made  to  appear  and  reappear 
in  a  manner  suggestive  of  its  great  original.  Finally  the  paper 
is  unrolled,  and  the  doll  removed. 


Explanation. 

The  performer  will  need  two  of  the  dolls,  which  may  be 
bought  at  any  fancy  goods  shop.  One  of  them  is  suspended 
by  a  short  length  of  thread  to  the  center  of  one  of  the  shorter 
sides  of  the  cartridge  paper,  the  thread  being  attached  to  the 
head  of  the  figure.  The  paper  rests  on  the  left  side  table, 
towards  the  back,  and  with  the  figure  lying  on  an  improvised 
servante,  made  of  two  hooks  or  nails.     Understand,  that  the 

41 


up  His  Sleeve 


thread  is  long  enough  to  make  this  arrangement  possible.   The 
other  figure  needs  special  treatment. 

The  arrangement  is  identical  with  that  in  the  case  of  the 
old  ''Bonus  Genus"  or  vanishing  doll  trick.  The  head  is  sev- 
ered from  the  body,  but  prepared  for  temporary  attachment 
by  a  simple  peg  and  hole  device.  The  right  side  table  carries 
a  black  art  well.  In  presentation  the  magician  picks  up  the 
sheet  of  paper,  with  the  end  to  which  the  thread  is  attached 
downwards.  The  thread  is  long  enough  to  permit  of  this  end 
being  held  a  few  inches  above  table.  When,  however,  the  paper 
is  reversed,  to  show  the  other  side,  the  thread  is  brought  upper- 
most. The  result  of  this  move  is  to  draw  the  doll  from  behind 
the  table  to  the  back  of  the  sheet.  The  paper  is  then  rolled 
around  the  figure,  and  the  resulting  cylinder  stood  on  a  plate. 
Picking  up  the  ''Spooky  Ookum"  the  performer,  after  show- 
ing it  empty,  stands  it  just  in  front  of  the  black  art  well.  The 
doll  is  dropped  within.  Performer,  however,  keeps  hold  of  the 
head,  and  moving  the  tube  backwards,  allows  the  body  to  drop 
into  the  well.  The  left  hand  is  then  slipped  under  the  tube, 
and  the  apparatus  carried  away  from  table.  The  left  thumb 
then  pushes  in  the  secret  slide  at  back,  forming  a  rest  for  the 
head  when  the  latter  is  dropped.  The  left  thumb  maintaining 
its  position  keeps  the  head  from  falling  through  the  trap. 
Again  the  head  is  raised  by  the  fingers  of  right  hand.  When  it 
is  again  dropped,  this  hand  grasps  the  tube  across  the  open 
trap  at  back,  so  that  the  head,  as  it  falls  through,  is  retained 
and  concealed.  A  moment  later,  the  tube  is  turned  mouth  to 
audience,  the  slide  falling  naturally  into  place  and  revealing 
only  the  empty  interior.  The  head  is  dropped  down  well,  as 
the  "Spooky"  is  replaced  on  table.  When  the  paper  cylinder 
is  picked  up,  with  a  jerk  the  figure  pops  out  the  top,  to  be 
jerked  back  again,  when  it  reaches  the  end  of  its  "tether". 

42 


up  His  Sleeve 


This  action  is  repeated  several  times,  after  which  the  paper  is 
unrolled.  •  ^^^f'rPI 

This  little  trick,  which  may  be  described  as  a  Movie  Com- 
edy, is  technically  quite  perfect  and  worthy  of  inclusion  in 
any  close  quarter  program. 


43 


Up  His  Sleeve 


The  Utility  Fans 

TJ  LAITED  palm  leaf  fans  of  Eastern  manufacture  are  cheap, 
-*-  and  obtainable,  no  doubt,  all  over  the  world.  The  reader, 
therefore,  can  easily  test  the  efficacy  of  this  idea.  Here  are 
some  of  the  effects.  In  all  cases,  the  magician  wields  two  fans, 
which  may  be  gracefully  waved  about,  or  juggled  carelessly 
from  hand  to  hand. 

1.  The  fans  are  placed  together,  both  handles  being 
gripped  by  the  left  hand.  The  magician,  seizing  the  tip  of  the 
uppermost  fan,  bends  it  back,  while  an  assistant  places  several 
silks  between  the  two.  A  wave  of  the  fans,  and  their  instant 
parting  shows  that  the  silks  have  gone.  They  make  their 
reappearance  between  the  fans,  or  can  be  found  in  some  other 
object.  Conversely,  the  handkerchiefs  may  be  vanished  in  some 
other  way,  to  be  caught  between  the  fans. 

2.  Several  silks,  placed  between,  are  dyed  to  different 
colors. 

3.  Three  handkerchiefs,  making  together  the  patriotic 
tri-color,  change  to  one  big  flag. 

4.  From  the  fans,  opened  oyster  fashion,  as  above 
described,  is  shaken  a  large  quantity  of  spring  flowers. 

The  preparation  is  exceedingly  simple.  It  must  be  under- 
stood that  the  fans  used  are  of  the  flexible  plaited  type.  Such 
an  article  is  not  flat,  but  concave  or  convex,  according  to  which 
side  is  viewed.  Take  two  fans,  identical  in  size,  and  place  them 
together,  so  that  concave  side  faces  concave  side.  Now,  bind 
the  handles  tightly  together,  with  raffia.  It  will  then  be  seen 
that  as  a  result  of  the  concavity  and  flexibility  of  both  fans, 
the  edges  press  tightly  together,  with  a  kind  of  spring.  By 
reason  of  this  spring,  also,  objects  soft  and  light  in  nature  may 
be  stowed  between  the  fans,  without  causing  the  separation  of 

44 


Up  His  Sleeve 


the  edges..    Thus,  the  combination,  even  at  close  quarters,  has 
the  appearance  of  one  fan. 


Ti*/ghthwia 


Jie/if  ha/fcf 

r 


e  ^CLffe  of  fan . 


7%Z. 

rarunfftne  fcws . 


For  effect  No.  1,  it  is  sufficient  to  use  an  ordinary  fan  in 
conjunction  with  a  trick  fan.  In  all  other  examples,  both  the 
fans  are  ''tricked."  For  the  vanishment  of  the  silks,  the  fans 
are  placed  together,  with  the  fake  one  undermost.  The  per- 
former seizes  the  combined  tips  of  the  ordinary  fan  and  the 
uppermost  section  of  the  trick  one.  When  the  handkerchiefs 
are  placed  within  the  latter,  the  thing  is  done.  In  exchange,  of 
course,  the  silks  are  placed  within  an  empty  fake,  the  other  one 
being  already  loaded  with  colored  duplicates.  The  spring  flow- 
ers should  not  be  stowed  in  one  bulky  load,  but  distributed  in  a 
number  of  small  parcels,  the  largest  by  far  being  two  last  placed 
where  the  spring  is  strongest,  close  to  the  handle.  This  produc- 
tion is  exceedingly  pretty,  the  flowers  ''gushing"  more  and 
more  freely  from  between  the  fans,  as  the  uppermost  is  drawn 
slowly  back. 


45 


up  His  Sleeve 


The  Candle  That  Was 

TT ERE  is  quite  a  startling  little  trick,  that  is  both  easy  and 
-*-  •*■  practical.  If  not  as  brilliant  an  illusion  as  the  Vanishing 
Lamp,  neither  is  it  so  costly. 

In  the  beginning,  the  candle,  unlighted,  reposes  in  a  stick 
of  the  tall  variety.  The  magician  drapes  over  it  a  paper  servi- 
ette, in  the  center  of  which  a  small  slit  has  been  torn.  The 
wick  passes  through  the  slit.  He  lights  the  candle,  and  remov- 
ing it,  still  covered  from  the  stick,  walks  to  center  of  stage. 
Suddenly,  as  the  paper  catches  fire,  it  is  thrown  high  in  air 
to  be  caught  and  crushed  between  the  hands  on  its  descent.  The 
candle  has  gone.  With  that  smile  of  calm  superiority  that  the 
wizard  always  assumes,  as  he  nears  the  successful  termination 
of  a  trick,  he  places  his  hand  in  his  breast  pocket,  and  pro- 
duces the  candle,  still  burning. 

Explanation. 

The  candle  stick  is  hollow  throughout,  and  open  at  top. 
The  candle  may  be  the  real  article,  or  made  of  wood  or  metal 
tubing.  In  either  case,  there  is  a  tiny  fake,  in  the  form  of  a 
short  section  of  tubing  that  fits  over  the  top  of  candle.  The 
tube  has  a  division  across  its  center,  the  upper  portion  being 
designed  to  carry  a  thin  slice  of  candle,  complete  with  wick. 
To  the  center  of  the  partition  on  the  lower  side  is  soldered  a 
short  peg,  with  a  knobbed  end  (See  Fig.  1),  for  the  accommo- 
dation of  which  a  hole  is  drilled  in  the  candle.  A  length  of 
thread  is  tied  to  a  tack,  driven  into  the  lower  end  of  candle. 
When  it  is  desired  to  hold  the  candle  upright  in  the  stick  the 
thread  is  passed  below  the  base  of  latter.  The  weight  of  the 
whole  is  sufficient  to  keep  the  thread  pressed  down,  and  the 


46 


Up  His  Sleeve 


candle  upright.     Nevertheless,  if  the  stick  be  lifted  ever  so 
slightly,  the  candle  disappears.     (Fig.  2.) 


1 


-^x 


s^ 


<=> 


TKr«a4 


M^Mec/fahe  and  mo^//z . 


When  the  performer,  in  effect,  removes  the  candle,  he 
really  grasps  the  little  fake  through  the  paper  with  the  left 
hand.  As  the  right  hand  at  the  same  time  raises  the  stick  a 
trifle,  the  actual  candle  drops  within  the  latter.  Coming  to  a 
halt  at  a  position  well  away  from  table,  he  introduces  his  right 
hand  beneath  serviette.  The  projecting  peg  is  clipped  between 
the  second  and  third  fingers  at  rear.  When  the  blazing  paper 
is  tossed  upwards,  the  hands  are  naturalUy  turned  w^ith  palms 
to  audience,  the  straightening  of  the  fingers  bringing  the  fake 
out  of  sight  at  back  of  right  hand.  The  flame  is  extinguished 
by  the  quick  upward  movements.  The  right  hand  entering 
breast  pocket,  secures  the  duplicate  candle,  prepared  as  usual 
with  a  match  head,  to  be  struck  against  a  piece  of  sand  paper 


47 


Up  His  Sleeve 


or  the  striking  portion  of  a  safety  match  box.    The  fake  is  left 
behind  in  the  pocket. 

If  the  reader  is  in  a  position  to  make  or  buy  flash  paper 
in  large  sheets,  as  a  substitute  for  the  serviette  he  has  it  in  his 
power  to  secure  still  greater  effect.  The  interior  of  the  candle 
stick  at  bottom  should  be  provided  with  a  pad  of  cotton  wool 
to  make  noiseless  the  fall  of  the  candle. 


48 


Up  His  Sleeve 


"In  the  Garden  of  Long  Ago 


)> 


MAGICAL  presentation,  to  date,  has  been  almost  entirely 
lacking  in  poetry  and  romance.  Though  conjurors  have 
always  been  commendably  quick  to  turn  to  magical  use  the 
latest  inventions  in  the  realms  of  science,  presentation,  the 
more  artistic  branch  of  the  craft,  has  been  very  much  neglected. 
Performers  style  themselves  variousl}^  as  "Wizards,"  "Ma- 
gicians," "Necromancers"  or  "Wonderworkers,"  and  cover 
their  bills  with  devils  and  weird  goblins.  With  the  imagina- 
tions stimulated  by  all  this  suggestive  material,  one  would  nat- 
urally expect  to  see  a  performance  of  dramatic  mysteries.  In- 
stead, when  the  curtain  rises  what  does  the  audience  view?  A 
talkative  man,  in  a  dress  suit  (sometimes  shabby  and  ill-fitting) 
moving  amongst  gas-piping  tables,  placed  before  any  old  set- 
ting. Further,  he  shows  hackneyed  feats,  in  a  conventional 
manner,  to  an  accompaniment  of  jokes,  so  feeble  as  to  be  treated 
with  derision  by  a  vaudeville  comedian.  I  think  that  magical 
progress  in  the  future  will  be  as  much  (if  not  more)  in  the 
direction  of  improved  presentation,  as  in  technical  and  scientific 
advancement.  There  is  too  much  of  the  commonplace  in  magic, 
because  its  exponents  play  only  to  two  senses — curiosity  and 
humor.  If  magicians  are  poor  actors  it  is  due,  not  so  much  to 
lack  of  histrionic  parts,  as  to  the  fact  that  they  have  never 
thought  to  develop  any  latent  qualities,  in  this  direction. 

This  article  breaks  new  ground,  inasmuch  as  it  applies  to 
comparatively  small  material ;  methods  that  have  been  suc- 
cessfully used  in  the  sketches  at  St.  George 's  Hall,  England. 

Briefly  described,  the  effect  suggests  the  memories  revived 
in  an  old  man's  mind  by  the  stirring  of  the  contents  of  a  jar  of 
potpouri,  once  the  property  of  his  long  dead  wife.  A  small 
version  of  the  "Spirit  Paintings"  figures  in  the  creation.    Be- 

49 


Up  His  Sleeve 


fore  entering  on  the  dramatic  side  of  the  effect,  the  performer 
quickly  displays  the  various  properties,  all  of  which  are  on 
one  table.  Showing  the  ''Spirit  Frame,"  he  places  in  it  a 
blank  canvas. 


^/.   t/oftojiah/e. 


^'j^^ "  y^  Woui/^ 


Then  there  is  the  jar  of  ''potpouri".  The  dried  rose 
leaves  are  temporarily  poured  into  a  box,  that  the  jar  may  be 
shown  empty.  When  the  leaves  have  been  replaced,  it  is  stood 
on  the  table  at  the  end  (on  right  of  audience)  away  from  the 
frame.  Briefly  stating  the  purpose  of  the  illusion,  performer 
takes  seat  at  the  table,  with  the  jar  before  him.  (See  Fig.  1.) 
The  light  behind  the  Spirit  Frame  should  be  already  burning. 
Now,  while  the  house  lights  are  gradually  lowered,  and  while 
the  orchestra  softly  plays  one  of  those  haunting  refrains 
("When  Other  Lips,"  for  example)  popular  in  the  mid-Vic- 
torian era,  he  delivers  the  following  lines.  (Of  their  quality 
I  will  say  no  more  than  that  they  are  intended  merely  to  point 
the  way  to  some  brother  magician  who  may  possess  greater 
powers  of  versifying  than  myself. 

As  he  speaks,  he  stirs,  gently,  the  rose  leaves  in  the  bowl. 

"Withered  and  sere  are  the  rose  leaves,  only  their  perfume 
lives, 


50 


Up  His  Sleeve 


Lingering  as  the  recollections  of  the  joys  of  other  years, 
Breathing  forth  tender  memories,  fragrant  with  love  of  she, 
Who  so  gaily  gathered  the  roses,  In  the  Garden  of  Long 
Ago. 

**I  see  her  again,  in  the  springtime,  the  spring  of  our  wedded 
life. 
Full  of  innocent  gladness,  her  measure  of  joy  complete. 
Laughing  and  gay  in  the  sunshine,  with  her  baby  at  her  feet, 
As  she  tenderly  gathered  the  roses  In  the  Garden  of  Long 
Ago. 

"Nothing  is  left  but  the  rose  leaves,  withered  but  fragrant  still, 
Making  a  mystic  garland,  woven  of  memories, 
Sad,  and  sweet,  and  joyful,  spanning  the  stretch  of  years, 

And  taking  me  back  with  my  lost  love  to  the  Garden  of 
Long  Ago. 


>  J 


The  verses  ended,  the  old  man,  placing  the  lid  on  the  jar, 
falls  into  a  reverie.  As  he  gazes,  musingly,  on  the  illuminated 
canvas,  in  the  frame,  there  slowly  materializes,  on  its  surface, 
in  warm,  bright  colors,  the  head  and  bust  of  a  young  woman 
with  a  cluster  of  roses  pressed  to  her  bosom.  Stepping  eagerly 
to  the  frame,  he  removes  the  canvas,  and  gazes  tensely  at  the 
picture.  (Thus  the  audience  is  given  every  opportunity  of  see- 
ing that  the  picture  is  actually  on  the  cloth.)  He  retires  once 
more  to  his  chair,  and  lays  the  canvas  before  him  on  the  table. 
Lifting  the  lid  from  the  bowl,  he  finds  that  the  roses  have  come 
to  life  again.  He  pours  them  forth,  and  for  a  little  while  plays 
lovingly  with  them.  Then,  with  gentle  fingers,  he  restores  the 
roses  to  the  jar,  and  replaces  the  lid. 

One  rose  that  has  been  omitted  he  holds  clutched  in  his 
left  hand,  resting  on  the  table.    The  orchestra  plays  softly  on. 

51 


Up  His  Sleeve 


Slowly  his  head  sinks  to  rest  on  the  right  arm.  As  the  lights 
go  suddenly  up,  the  music  livens,  a  young  girl  enters  and 
glances,  casually,  at  both  sides  of  the  canvas.  It  is  blank.  She 
lifts  the  lid  from  the  jar,  and  it  is  seen  to  be  filled  once  more  with 
withered  flowers.  Tenderly  placing  an  arm  around  the  shoulders 
of  the  old  man,  she  calls  "Daddy". 

He  slowly  raises  his  head,  and  opening  his  hand  releases  a 
few  dry  leaves. 

' '  Dead  !    Dead ! "  he  mutters.    ' '  Dead,  as  all  my  hopes. ' ' 
Now,  daddy,"  says  the  girl,  "Remember  you  still  have 


( ( 


me." 


Aye!  Lass;  thank  God  for  that." 

Then  cheer  up,  old  boy !  You've  been  brooding  again  over 
mother's  old  jar  of  potpouri.  Now  come  and  have  your  sup- 
per."   (Exit,  arm  in  arm.) 

Little  remains  to  be  told.  The  "Spirit  Painting"  method 
may  be  as  simple  as  possible,  because  the  effect  is  not  presented 
under  test  conditions. 

The  bowl  is  built  on  precisely  the  same  lines  as  the  bran 
vase  that  consists  of  vase  proper  and  lid,  with  a  shell  to  fit  the 
inside  of  the  vase,  and  a  tray  that  fills  the  mouth  of  the  shell 
at  outset,  and  is  carried  away  within  the  lid  at  conclusion.  A 
small  addition  is  necessary,  in  the  form  of  a  short  wire  piston 
that  passes  through  the  knob  on  lid,  and  is  finished  below  by  a 
round  plug.  Its  top  or  outer  end  is  surmounted  by  a  smaller 
knob.  Pressure  on  this  knob  causes  the  tray  to  be  detached 
from  the  lid,  and  fall  once  more  to  close  mouth  of  shell.  This 
operation  takes  place,  when,  for  the  final  phase,  the  jar  is  to 
have  the  appearance  of  being  filled  once  more  with  withered 
leaves.  If  the  reader  possesses  a  large  bran-vase,  it  may  be 
converted  to  the  purpose,  though  the  shape  shown  in  Figure  2 
is  more  suitable.  In  this  instance,  dried  rose  leaves  replace  the 
bran  on  top  of  tray  fake. 

52 


up  His  Sleeve 


The  performer,  in  his  seated  position,  works  the  cord  that 
operates  the  sliding  carriage,  in  the  Spirit  Frame.  Having 
taken  the  materialized  picture  from  the  frame,  he  switches  it 
under  cover  of  the  table  for  a  blank  canvas.  This  is  done  while 
he  is  again  taking  his  seat,  and  as  the  left  hand,  by  shifting 
the  jar,  provides  the  necessary  mis-direction. 

For  the  final  little  incident,  the  left  hand  secures  a  dead 
rose  from  a  convenient  pocket.  The  living  rose  is  palmed  in 
the  act  of  pretended  transfer  to  the  left  hand. 

This  article  has  been  carefully  written  to  illustrate  one 
phase  in  dramatic  presentation.  I  do  not  claim  that  it  is  the 
only  style.  Indeed,  quite  apart  from  the  need  for  variety,  it 
would  be  absurd  to  present  every  feat  in  the  same  manner.  I 
do  not  think  that  in  this  example  I  have  set  the  reader,  to  whom 
it  may  appeal,  an  impossible  or  even  a  difficult  task.  Both  the 
Bran  Vase  and  the  Spirit  Paintings  have  been  proved  practical 
by  thousands  of  performers  the  wide  world  over.  There  re- 
mains, then,  only  the  acting. 

If  desired,  the  verses  may  be  omitted,  and  with  some  brief 
explanation,  at  the  outset,  the  effects  presented  in  a  dumb 
show.  I  notice  that  Mr.  Thayer  lists  a  small  and  quite  inexpen- 
sive form  of  the  "Spirit  Paintings".  I  have  not  had  the  oppor- 
tunity of  inspecting  this,  but  am  certain  that  the  reader  could 
rely  on  any  information  Mr.  Thayer  might  give  him,  regarding 
its  suitability  for  this  particular  purpose. 


53 


Up  His  Sleeve 


An  April  Shower 

^  I  ''HIS  is   an  entirely  new  idea.     As  an  opening  trick,  it 
-"-     should  prove  startling  enough  to  wake  up  the  most  somno- 
lent audience. 

When  the  magician  walks  on,  he  carries  over  his  shoulder 
an  open  umbrella.  First  he  shows  the  interior.  The  umbrella 
is  then  held  upright,  and  gently  twirled.  Suddenly,  from  be- 
neath its  shelter  fly  eight  doves,  while  from  as  many  points 
around  the  outer  edge  drop  strings  of  beautiful  floral  balls. 
Cascades  of  gay  silken  streamers,  also,  descend  from  beneath 
the  cover,  each  in  its  fall  setting  free  a  shower  of  flowers. 
Explanation. 

To  the  best  of  my  belief,  I  am  the  first  to  think  of  closing 
with  black  fabric,  the  spaces  between  the  short  supporting  ribs 
of  an  ordinary  umbrella,  so  as  to  secure  a  receptacle  capable  of 
holding  a  considerable  quantity  of  light  production  material. 
While  the  idea  might  be  employed  in  several  ways,  that  to  be 
described  represents  the  most  effective  use  I  have  been  able  to 
make  of  it  to  date. 

If  the  reader  will  open  an  umbrella,  he  will  find  that  the 
cover  is  divided  into  eight  sections  by  as  many  ribs.  Also,  there 
are  the  eight  short  supporting  ribs  that  travel  from  the  tube  on 
handle  to  about  the  center  of  the  long  ones.  The  space  between 
any  two  of  these  shorter  ribs  is  triangular  in  shape,  the  apex 
coming  at  the  aforementioned  tube.  For  our  purpose,  it  is  neces- 
sary that  each  of  these  spaces  be  filled  in  with  a  flap  that  may 
be  instantly  removed,  to  permit  of  the  fall  of  the  articles  in  the 
chamber  above.  Each  triangular  section  of  black  material, 
therefore,  is  stretched  over  a  wire  frame,  that  makes  one  point 
of  the  star-like  arrangement  shown  in  Figures  2  and  3.  This 
star  is  designed  to  take  up  either  of  two  positions.    When  ful- 

54 


up  His  Sleeve 


filling  its  function,  as  a  mask  for  the  contents  of  the  chambers, 
it  lies  along  the  shorter  ribs,  with  its  points  to  the  handle. 
When,  however,  the  production  has  happened,  it  rests  against 
the  cover  of  umbrella,  between  the  points  where  the  short  ribs 
join  the  long  ones,  and  the  edge  of  cover.  In  short,  it  flaps 
over.    It  remains  to  be  told  how  this  process  is  effected. 


%'g  Z,.  -    7/aj/bs  C/oie<f 


tfe 


^e 


^t»t/t^  Jbo^h 


T^gJrTi^  O^ 


C.-     liTet/oacfs 

The  basis  for  each  flap  is  a  V-shaped  wire  frame  as  shown 
in  Figure  4.  It  will  be  noticed  that  each  end  of  the  wire  is 
twisted  to  form  two  eyelets,  separated  by  about  one  inch.  Each 
frame  is  attached  to  the  long  ribs  of  the  umbrella  by  pivots 
passing  through  the  innermost  of  these  eyelets.    As  it  is  not 


55 


Up  His  Sleeve 


desirous  that  the  ribs  be  weakened  by  drilling,  a  small  piece  of 
metal  is  bent  around  the  rib,  securely  soldered,  and  provided 
with  a  hole  through  which  the  pivot  may  pass.  Each  pivot  con- 
nects one  branch  of  the  frame  in  the  compartment  adjoining. 
As  all  pivots  are  outside  the  cover,  it  follows  naturally,  that 
the  eyelets  on  extreme  ends  of  wires  will  also  be  above.  When 
all  the  frames  have  been  pivoted  on,  the  umbrella  is  turned 
upside  down,  and  a  piece  of  strong  cord  elastic  passed  through 
each  of  these  end  eyelets.  The  ends  of  elastic  are  tied,  so  as 
to  leave  the  latter  in  a  state  of  mild  tension.  It  will  now  be 
found  that  the  combination  of  flaps  making  the  star  occupies 
what  may  be  termed  its  normal  position — i.  e.,  each  flap  presses 
against  the  lower  side  of  cover  (Fig.  3)  and  each  star  point 
approaches  the  edge  of  same.  But,  when  the  flaps  are  all  turned 
over,  to  fill  the  spaces  between  the  short  ribs  and  (Fig.  2)  then 
released,  they  immediately  spring  back  to  their  former  posi- 
tion. This  is  because  the  folding  over  process  puts  a  greater 
tension  on  the  elastic,  the  pull  of  which  is  towards  the  center 
of  umbrella.  It  is  necessary  to  find  some  simple  means  of  reten- 
tion for  the  flaps  when  in  position  as  shown  in  Figure  2.  A 
metal  collar  is  fitted  around  the  sliding  tube  on  handle,  and 
this  tube  is  provided  at  top  edge  with  a  projecting  rim,  made 
concave,  on  the  upper  side.  When  this  is  pushed  up  to  press 
against  the  extreme  tip  of  each  flap,  it  holds  all  in  place.  Its 
withdrawal  sets  free  the  flaps,  which  instantly  revert  to 
Figure  3. 

Naturally  when  the  flaps  lie  along  the  short  ribs  the  latter 
are  hidden.  As  they  have  a  bright  appearance,  the  absence  of 
which  may  be  noticed,  it  is  well  to  sew  around  the  two  long 
edges  of  the  cloth  on  each  flap  a  narrow  bordering  strip  of 
shiny  black  American  leather  or  oil-cloth.  The  material  used 
for  covering  the  flaps  is  umbrella  cloth,  and  the  ''base"  (so  to 
speak)   of  each  triangular  flap  is  sewn  down  to  the  actual 

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Up  His  Sleeve 


cover.  Here  is  another  detail  that  makes  for  smooth  working. 
Each  short  rib  is  connected  with  the  section  of  long  rib  imme- 
diately above  by  a  piece  of  light  black  cloth.  This  arrangement 
makes  each  space  a  compartment  to  itself,  and  whatever  is 
placed  within  may  fall  without  entanglement  with  the  contents 
of  another  chamber.    Now  for  the  preparation. 

The  flower  balls  are  attached  to  flap  joints  that  they  may 
appear  around  the  edge  of  umbrella.  The  streamers  hang  from 
rings,  distributed  at  intervals  along  the  top  ribs,  and  are  rolled 
around  the  flowers.  The  doves  are  put  in  last,  and  each  is 
tucked  as  far  back  as  possible,  under  the  broadest  part  of  the 
flap.  The  production  takes  place  when  the  magician  reaches 
up  and  slides  down  the  collar. 

Last  of  all,  the  arrangements  do  not  interfere  with  the 
closing  of  the  umbrella,  for  purpose  of  travel. 


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The  Leaky  Bag 

A  CANNON  ball  is  enclosed  in  a  small  silk  bag,  around  the 
mouth  of  which  is  tied  the  center  of  a  long  piece  of  tape. 
The  ends  of  the  tape  are  held  by  two  volunteer  assistants.    The 

bag  is  now  hanging  on  the  tape,  but  the  weight  of  the  ball 
provides  the  magician  with  a  reasonable  excuse  for  keeping  his 
grip  on  the  neck  of  the  bag. 

When  the  interest  of  the  spectators  is  thoroughly  aroused, 
the  performer,  giving  the  bag  a  slight  upward  toss,  releases 
his  grip.  The  ball  falls  with  a  thud  to  the  stage,  leaving  the 
bag  hanging  limp  on  the  tape. 

Nor  does  examination  of  the  bag  give  the  slightest  clue  as 
to  how  the  ball  makes  its  mysterious  passage  through  the 
fabric. 

There  is  employed,  in  this  feat,  the  principle  of  the  double 
bags,  as  used  in  one  well  known  form  of  the  sack  trick.  After 
the  enclosure  of  the  cannon  ball,  performer  palms  in  a  duplicate 
bag,  the  neck  of  which  is  then  drawn  through  the  mouth  of 
the  other  one,  and  the  left  hand  used  to  conceal  the  point  of 
juncture. 

The  tape,  of  course,  goes  around  the  neck  of  the  empty 
bag.  The  magician  wears  a  simple  cord  pull  that  travels  up 
the  right  sleeve,  across  the  back  and  ends  in  a  leaden  weight 
resting  in  the  left  trouser  pocket.  The  sleeve  end  of  the  cord 
terminates  in  a  swivel  hook,  temporarily  fastened  to  the  shirt 
cuff.  Securing  the  hook,  performer  fastens  it  to  a  ring  at  the 
right  lower  corner  of  the  bag.  The  right  hand  now  relieves 
the  left  of  its  grip  on  the  combined  necks  of  bags.  Standing 
with  right  side  to  audience,  he  gets  possession  of  the  leaden 
weight.  At  the  count  of  "three"  he  gives  the  bag  an  upward 
throw,  and  pulling  on  the  cord,  draws  the  outer  bag  up  the 
sleeve. 

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The  Floating  Ball  of  Paper 

^TT^HIS  is  an  original  plan  that  admits  of  a  greater  variety 
-■-     of  movements  than  is  possible  in  most  methods. 

Use  a  long  loop  of  black  thread,  on  which  slides  a  short 
piece  of  light  tubing,  with  a  bend  in  the  middle.  (This  is  the 
little  device  described  by  Prof.  Hoffmann  in  "More  Magic," 
for  the  trick  of  the  ''Obedient  Orange.")  Place  the  tube  in  the 
upper  pocket  of  vest,  on  the  left  side,  and  pass  the  loop  at 
other  end  beneath  the  left  foot.  This  is  an  entirely  safe 
arrangement  that  leaves  the  tube  in  position  to  be  quickly 
secured.  Having  obtained  the  tube  (the  loop  stays  through- 
out) borrow  a  program,  or  tear  a  sheet  from  a  writing  pad. 
With  both  hands  between  the  threads  of  loop,  roll  the  paper 
into  a  ball  between  the  palms  and  around  the  tube. 

1.  Pace  audience,  with  palms  together,  and  thumbs  upper- 
most. Slowly  part  the  hands,  when  the  ball  will  be  seen  float- 
ing between. 

2.  Raise  the  right  hand  at  such  time  as  the  left  is  grad- 
ually lowered.  With  a  peculiar  and  graceful  parabolic  curve, 
the  ball  will  float  upwards,  to  the  right  hand. 

3.  In  the  same  way,  by  alternately  raising  and  lowering 
either  hand,  the  ball  will  travel  from  one  to  the  other,  a  pretty 
and  quaint  effect. 

4.  The  left  hand  is  drawn  from  between  the  threads,  and 
the  right  raised  (with  the  ball)  to  tightly  stretch  the  loop. 
Place  the  left  hand  (outside  the  thread)  about  18  inches  below 
the  right.  At  command,  and  while  both  hands  remain  passive, 
the  ball  travels  to  the  lowermost.  When  told  to  stop  half  way, 
it  does  so,  resuming  its  journey  on  instruction.  (The  little  tube 
comes  into  action  here,  the  result  being  obtained  by  alternately 
slackening  and  tightening  the  thread.) 

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5.  Transfer  the  ball  to  the  left  hand,  and  pick  up  a  hoop 
to  be  temporarily  dropped  over  the  right  arm.  Pass  the  ball 
once  more  to  the  right  hand,  put  it  in  suspense  again,  then, 
seizing  the  hoop,  draw  it  down  over  hand,  thread,  and  ball. 
Move  it  up  and  down  several  times.  The  ball  has  now  been 
proved  free  of  attachment  in  one  way.  To  make  the  hoop* 
encircle  the  object  horizontally,  use  the  following  subtlety :  Let 
it  hang  from  fingers  of  right  hand,  so  that  the  ball  seems  to 
float  at  about  its  center.  With  the  left  hand,  seize  the  lower 
edge  of  hoop,  and  using  the  fingers  of  both  hands,  twirl  it 


Jiefi/ianc/ 


«o 


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around  the  ball  with  the  thread  serving,  so  to  speak,  as  the 
axis,  on  which  it  turns.  This  is  a  most  effective  move,  worth 
noting,  for  application  to  other  tricks. 

The  above  description  does  not,  by  any  means,  exhaust 
the  possibilities  of  this  method.  I  leave  the  reader  to  experi- 
ment for  himself. 


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A  Japanese  Idyll 

^  I  ^HE  feat  of  spinning  a  ball  on  a  Japanese  sunshade  is  de- 
^  lightfully  pretty  and  fascinating.  Also,  it  is  amongst  the 
easiest,  in  the  repertoire  of  the  juggler.  Though  I  do  not,  in 
a  general  way,  approve  of  the  inclusion  of  juggling  feats  in 
a  magic  show,  I  thought  this  one  so  attractive  that  some  time 
ago  I  arranged  it  as  the  basis  of  a  mystical  production. 

First  of  all,  a  parti-colored  ball  is  produced  from  the  bare 
hands.  An  assistant  takes  this,  and  gives  the  performer,  in- 
stead, a  sheet  of  cardboard.  The  board  is  rolled  into  a  tube 
(after  being  displayed  on  both  sides),  through  which  the  ball  is 
dropped,  to  be  caught  as  it  emerges  from  the  other  end.  The 
ball  is  transferred  to  the  left  hand,  which  also  grips  the  tube 
around  the  middle.  A  moment  later  the  magician,  thrusting 
his  hand  into  the  tube,  draws  forth,  with  a  graceful  sweep,  an 
open  Japanese  sunshade.  The  assistant  removes  the  tube,  leav- 
ing performer  with  ball  and  sunshade.  Bouncing  the  ball  on 
the  floor  he  catches  it  as  it  descends  on  the  umbrella  top.  Now 
follows  the  spinning  feat.  Even  in  its  simplest  form,  this 
accomplishment  always  brings  forth  applause,  but  the  operator 
will  find,  that,  as  he  grows  expert,  many  extra  tricks  will  occur 
to  him,  the  inclusion  of  which  will  secure  greatly  enhanced 
effect. 

Having  carried  the  performance  as  far  as  he  thinks  fit,  he 
tosses  the  ball  from  the  umbrella,  to  be  caught  in  the  right 
hand.  Bowing  to  the  applause,  he  lowers  the  umbrella,  but 
almost  immediately  raises  it,  and  replaces  the  ball  on  its  sur- 
face. Again  comes  the  spinning  process.  The  sunshade,  how- 
ever, has  not  made  many  revolutions,  when  the  ball  bursts 
into  many  others,  that  stream  over  the  edge  to  the  floor.  Be- 
fore the  audience  has  recovered  from  this  unexpected  develop- 

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ment,  the  performer  is  seen  to  be  holding  two  umbrellas.  An 
assistant  takes  these,  but  leaves  the  magician  smiling  beneath 
the  shelter  of  one  gigantic  umbrella,  that  has,  apparently, 
materialized  from  nowhere. 

Explanation. 

The  ball  production  is  a  matter  of  simple  palming.  The 
cardboard  sheet  is  prepared  according  to  my  principle  of  "The 
Secret  Tube".  The  invisible  tube  holds  the  umbrella  and  a 
duplicate  ball.  Both  ball  and  umbrella  handle  are  together, 
at  what  will  be  the  lower  end  when  the  cylinder  is  held  up- 
right. When  the  visible  ball  is  dropped  in  at  top,  it  falls  into 
a  small  bag,  the  mouth  of  which  is  secured  to  the  tube  opening. 
Instead,  the  duplicate  ball  (previously  retained  by  the  project- 
ing fingers  of  the  left  hand)  emerges  as  its  representative.  The 
umbrella  is  developed  with  the  usual  semi-circular  sweep. 

.  When  the  performer,  after  the  juggling  feat,  lowers  the 
umbrella,  he  quietly  (and  under  its  cover)  drops  the  ball  into 
one  pocket,  and  takes  from  another,  a  bundle  of  spring  balls. 
These  are  made  up  to  resemble  the  original,  which  is  also  cloth 
covered.  If  the  reader  has  any  acquaintance  with  spring 
balls,  he  will  know  that  a  bundle  always  takes  a  roughly 
spherical  shape.  Also,  that  if  tied  around  one  way  only,  a 
very  slight  knock  is  sufficient  to  cause  their  escape  from  bond- 
age. The  bundle  is  placed  on  sunshade,  and  the  latter  spun 
immediately,  so  that  the  audience  does  not  get  the  opportunity 
of  judging  the  shortcomings  of  the  "Ball".  If  the  bundle  does 
not  burst  after  a  few  revolutions,  it  is  tossed  into  the  air,  to 
come  down  heavily  on  top  of  sunshade,  a  process  that  may 
be  relied  on  to  do  all  that  is  necessary. 

The  second  umbrella  is  carried  behind  the  performer's 
back,  and  hanging  from  a  hook  between  the  shoulder  blades 
under  coat.    The  assistant  makes  her  entrance,  with  the  large 

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sunshade  hanging  behind,  and  well  masked  by  her  dress.  To 
get  possession  of  it,  while  transferring  the  smaller  ones  to  her 
hands,  is  an  easy  task  for  the  performer. 

Instructions  for  the  execution  of  a  juggling  trick  consist, 
as  a  rule,  of  little  more  than  advice  to  practice  until  the  knack 
comes.  It  is  perfectly  true,  that  such  accomplishments  do  come 
to  the  experimenter  quite  suddenly,  and  about  the  period  when 
he  has  reached  a  condition  of  despair.  There  must  be,  never- 
theless, a  physical  basis  to  what  is  known  as  ''knack,"  and 
what  my  experience  has  taught  me  in  mastering  this  particular 
feat,  I  shall  now  impart  to  the  reader. 

The  sunshade  should  have  a  stout  frame,  and  measure  not 
more  than  fifteen  inches  from  center  to  tip  of  ribs.  As  it  is  not 
spun  by  the  end  of  handle,  but  from  a  point  just  above  the 
center  of  gravity,  part  of  the  handle  may  be  cut  off.  This  will 
simplify  the  task  of  production.  Hold  the  handle  between 
thumb  and  fingers  of  left  hand,  and  on  that  side  of  body,  and 
learn,  first  of  all,  to  make  it  revolve,  to  the  left,  with  clean, 
swift  spins  that  keep  the  top  as  level  as  possible.  This  last 
condition  is  important,  and  the  operator  will  soon  learn  that 
the  performance  is  as  much  one  of  balancing  as  spinning.  Hav- 
ing acquired  some  skill  at  the  spinning  as  a  process  in  itself, 
place  the  ball  on  the  sunshade,  with  a  slight  roll  that  sends  it 
to  the  right.  The  position  of  the  ball  should  be  between  the 
performer  and  the  center  of  sunshade.  (It  will  be  understood 
that  the  ball  does  not  travel  around  the  umbrella,  but  keeps 
practically  to  the  same  position.)  The  natural  difficulty  is  to 
keep  the  ball  from  rolling  off  the  surface.  If  the  spin  is  even 
and  swift  enough,  the  principle  that  underlies  the  feat  makes 
success  certain.  The  least  deviation,  however,  of  the  umbrella 
top  from  the  horizontal,  or  a  slackening  in  the  spin  by  stopping 
the  momentum  of  the  ball  will  cause  it  to  roll  over  the  side.  It 
is  necessary,  therefore,  to  instantly  correct  such  deviations,  by 

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a  quick  return  to  the  level.  The  performer  will  find,  that  by 
imparting  an  upward  bobbing  movement  to  each  spin  the  ball 
is  made  to  bounce  slightly,  and  the  task  becomes  much  easier. 

As  something  like  perfection  comes,  this  bobbing  action 
gradually  disappears,  or  merges  in  the  general  spin. 

I  feel  that  I  cannot  conclude  this  article  more  fittingly 
than  advising  the  reader  to  ''Stick  to  it,  till  the  knack  comes." 


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The  Bookworm 


TN  THE  beginning  a  lady  examines  a  book — a  small  edition 
-■'  of  one  of  the  earlier  writers,  as  Dickens  or  Thackeray. 
Taking  it  back,  and  mentioning  that  the  pages  run  to  (say) 
800,  the  magician  invites  his  fair  assistant  to  state  a  number, 
less  than  that,  and  preferably  about  the  middle  of  the  book. 
Let  me  imagine  that  she  calls  452.  He  casually  turns  over  the 
leaves  and  stops  at  a  certain  page,  which  then  he  displays,  and 
announces  as  the  chosen  one.  The  same  lady  selects  a  card,  and 
after  its  return  shuffles  the  pack. 


The  book  is  then  laid  on  the  palm  of  the  performer's  right 
hand,  and  the  lady  asked  to  encircle  both  book  and  hand  with 
a  rubber  band.  Thus,  the  hand  may  be  held  upright  above 
the  head,  and  the  book  supported  without  aid  from  the  thumb. 

Speaking  of  the  literary  tastes  of  his  cards,  performer 

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states  that  it  is  difficult  to  keep  them  from  browsing  into  any- 
book  that  may  chance  to  be  about.  ''Now  tell  me  please,  madam, 
what  card  you  looked  at.  The  four  of  hearts — how  strange ! 
That  card,  in  particular,  is  a  regular  bookworm.  It  would  not 
surprise  me  to  find  it  already  in  the  book,  and  at  the  page  select- 
ed by  you.  Now,  four  of  hearts,  will  you  kindly  leave,  for  a 
time,  the  love  affairs  of  David  Copperfield,  and  show  yourself?" 
As  all  eyes  are  directed  to  the  book,  the  card  is  seen  to  slowly 
emerge  from  the  pages,  atop. 

''Very  good,"  says  the  magician.  "Now  you  may  return,  and 
finish  the  chapter,  after  which — bedtime,  my  lad."  (With  a 
comical  little  rush,  the  card  retires.) 

"Madam,  if  you  will  be  kind  enough  to  remove  the  band,  and 
open  the  book,  I  am  sure  that  you  will  find  the  card  at  the 
page  selected  by  yourself." 


Explanation.  t 

On  top  of  the  deck  at  the  outset  are  two  editions  of  the 
four  of  hearts.  Casually  handling  the  pack,  performer  palms 
off  one  of  these.  After  hearing  the  number  of  the  selected 
page,  he  runs  the  leaves  over  with  the  right  thumb.  Approach- 
ing the  chosen  page,  he  commences  to  call  off  the  numbers,  in 
a  nonchalent,  meditative  manner  of  one  engaged  in  such  a  task. 
On  reaching  the  actual  place,  he  announces  it  as  454  and  turn- 
ing back  one  more  leaf  boldly  shows  the  open  pages  and  calls 
in  a  louder  tone,  four  hundred  and  fifty-two.  Really,  the  book 
is  open  at  450,  but  as  nothing  has  been  done  to  indicate  the  pur- 
pose of  this  operation,  the  spectators,  though  they  cannot  see 
the  page  numbers,  have  no  reason  for  doubting  the  magician's 
word.  It  will  be  remembered  that  the  right  hand  held  the 
four  of  hearts  palmed.  When  the  correct  place  was  reached, 
the  hand  was  held  flat  on  the  right  page  (453)  and  kept  there 
till  the  right  thumb,  reaching  across,  had  drawn  the  opposite 

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leaf  (451-452)  to  hide  the  card.  The  reader  has  my  positive 
assurance  that  this  barefaced,  though  subtle,  move  is  entirely 
deceptive.  The  second  four  of  hearts,  after  being  forced  on 
the  lady,  is  returned  to,  and  palmed  from  the  deck.  The  volume 
is  laid  over  the  palmed  card,  which  remains,  after  the  fixing 
of  the  rubber  band,  firmly  held  between  the  book  and  the  hand. 
Now,  when  the  book  is  held  in  the  air,  after  the  manner  of  a 
pack,  in  the  old  feat  of  the  "Rising  Cards"  the  card  may 
be  pushed  up  by  finger  pressure  from  the  rear.  (Fig.  2.)  The 
effect  is  particularly  striking  because  the  extended  thumb  sug- 
gests the  impossibility  of  action  by  the  hand.  In  reality,  the 
elastic  band  provides  the  resistance  that  in  the  ''Rising  Card" 
trick  is  given  by  thumb  and  fingers  gripping  opposite  sides  of 
the  deck.  The  disappearance  of  the  card  is  caused  by  the 
fingers  being  quickly  bent  back,  to  give  space  in  which  it  may 
fall.  The  hand,  with  the  card  palmed,  is  removed,  and  the 
book  passed  to  the  assisting  lady. 


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A  Patriot's  Dovecote 

A  DOVE  that  the  magician  has  created  in  the  manner  that 
'*'  ^  pleases  him  most  is  left,  for  the  time  being,  on  the  right 
side  table.  On  a  table  at  the  other  side  is  a  box  painted  red, 
and  taped  in  the  orthodox  manner.  When  this  is  opened  and 
tilted  towards  audience,  there  is  revealed  as  its  contents  a 
white  box,  which  in  turn  contains  another — blue,  this  time.  This 
is  lifted  out,  and  put  alongside  the  dove. 

Returning  to  the  other  boxes,  magician  encloses  the  white 
in  the  red  once  more,  and  hands  the  result  to  an  onlooker.  The 
reader  is  invited  to  note  this  point,  which  makes  the  feat  dif- 
ferent to  the  many  others,  in  which  nests  of  boxes  figure. 

After  the  dove  has  been  placed  in  the  blue  box,  the  latter 
is  wrapped  in  a  sheet  of  newspaper.  When  the  interest  of  the 
audience  has  been  worked  up  to  the  desired  pitch,  the  performer 
suddenly  crushes  the  paper  between  his  hands — dove  and  box 
have  gone.  The  gentleman  who  holds  the  other  boxes  opens 
them,  and  finds  the  blue  one,  as  the  innermost  of  the  set,  with 
the  dove  safely  housed  therein. 

In  conclusion,  the  spectators  are  asked  to  exercise  their 
minds  on  the  interesting  problem  as  to  whether  the  dove  carries 
the  box  or  vice  versa. 

Explanation. 

All  three  boxes,  as  seen  at  the  finish,  are  commonplace. 
There  is,  however,  another  and  bottomless  blue  box  that  fits  as 
a  shell  over  the  box  proper  of  that  color.  This  is  the  arrange- 
ment when  the  nest  is  first  opened.  Though  the  shell  box  is 
tied  like  its  companions,  the  tapes  end  at  the  base  of  each  side. 
This  ^ake,  also,  is  provided  with  a  bag,  which,  without  inter- 
fering with  the  nesting  arrangement,  serves  later  to  retain  the 

69 


Up  His  Sleeve 


dove,  within  the  shell.  A  duplicate  dove  is  in  the  actual  blue 
box.  The  dove  and  fake  box  are  vanished  by  means  of  a  "Chap- 
ender  Newspaper  Servante. "  The  arrangements  for  this  simple 
appliance,  which  cannot  be  too  highly  praised,  are  as  follows : 

Two  full  sheets  of  newspaper,  with  a  strengthening  piece 
of  calico  between,  are  pasted  together.  Also,  between  the 
sheets,  with  one  of  its  longer  sides,  close  to  the  central  fold  of 
the  paper,  is  a  piece  of  cardboard.  To  the  outer  long  edge  of 
this  is  cloth  hinged  another  piece  of  similar  size  and  which 
forms  the  servante,  or  shelf.  After  the  last  named  has  been 
covered  with  newspaper  and  attached  by  two  tapes,  that  it 
may  stand  out  at  right  angles  to  the  first  piece,  the  apparatus 
is  complete.  The  free  half  of  the  paper  is  fastened  to  the  table 
top  by  means  of  drawing  pins.  Now,  if  the  rear  half  is  dropped 
over  behind  the  table,  the  shelf  stands  out  in  readiness  for  the 
load.  In  preparation,  the  paper  is  opened  out,  and  another 
ordinary  sheet  laid  thereon,  after  which  both  are  closed  up 
and  laid  on  the  table  top.  During  presentation,  shell  box  con- 
taining dove  is  raised  by  the  right  hand,  as  the  left  opens  out 
the  papers.  The  prepared  half  of  the  trick  paper  falls  behind, 
and  the  shelf  opens  automatically.  As  the  left  hand  lifts  the 
loose  sheets,  the  right  places  the  box  below.  The  paper  is 
pressed  over  the  top  of  box,  that  an  impression  of  the  latter 
may  be  retained,  after  it  is  deposited  on  the  servante. 

When  the  performer  opens  the  red  box,  in  the  beginning,  he 
tilts  it  towards  the  audience,  revealing  the  white  one  within. 
A  similar  procedure  is  followed  to  show  the  blue  box.  Before 
the  removal  of  the  latter,  however,  the  white  box  is  tilted  back 
to  its  natural  position.  Consequently,  when  the  blue  shell  is 
taken  out,  the  spectators  have  not  the  least  suspicion  that  an- 
other box  remains  behind,  to  play  its  part  in  the  climax.  En- 
tirely simple  as  this  subterfuge  is,  the  deception  is  complete. 

My  original  intention  was  to  make  the  shell  of  blue  silk, 

70 


Up  His  Sleeve 


stretched  over  a  collapsible  wire  frame  on  the  lines  of  DeKolta  's 
vanishing  cage.  The  fake  was  to  be  bottomless  so  that  the  dove 
might  be  disposed  of  via  a  Black  Art  Well.  Like  the  cage, 
also,  this  fake  was  to  disappear  up  the  sleeve.  Though  I  have 
not,  as  yet,  tested  the  practicability  of  the  trick  in  this  form,  I 
notice  that  Mr.  Brunei  White,  in  his  excellent  book  of  originali- 
ties, employs  a  similar  device  in  connection  with  a  vanishing 
die.    I  mention  this  idea  for  what  it  is  worth. 


71 


up  His  Sleeve 


<  ( 


The  Crystal  Dyeing  Tube 

FOR  the  effect  of  this  experiment  I  am  indebted  to  Sydney 
Legrande;  to  Max  Sterling's  now  defunct  journal,  the 
Magical  World,"  August  13,  1913. 

The  mode  of  execution  to  be  described,  however,  is  quite 
original  and  entirely  different  to  that  of  Mr.  Legrande 's.  With- 
out going  into  details  regarding  the  construction  of  the  latter, 
let  me  mention  that  it  was  dependent  upon  the  Mirror  Di- 
vision. In  effect,  a  white  silk  of  large  size  is  pushed  through 
a  transparent  gas  chimney,  and  emerges  a  brilliant  red.  As 
the  chimney  is  only  grasped  around  the  center  with  the  right 
hand,  the  silk  is  only  out  of  sight  during  the  time  it  is  passing 
by  the  fingers.  Also,  the  tube  is  shown  empty,  both  just  before 
the  insertion  of  the  handkerchief  and  immediately  afterwards. 

Though  my  original  intention  was  to  make  use  of  a  chim- 
ney of  glass,  I  was  discouraged  in  this  by  a  glass  cutter,  who 
informed  me  that  the  cylinder  would  have  to  be  specially  blown. 
Consequently,  the  one  I  use  with  good  effect  is  made  of  cellu- 
loid finished  off  at  the  ends  with  strengthening  bands  of  metal. 
While  the  mica  chimney  of  commerce  could,  no  doubt,  be 
treated  as  desired,  I  consider  that  its  length  is  too  short  for 
effective  use.  My  own  chimney  measures  eight  inches  in  length 
and  resembles  exactly  the  familiar  one  of  mica. 

A  narrow  slot  is  cut  along  the  tube  for  half  its  length,  per- 
mitting of  the  passage  up  and  down  of  the  wire  finger  grip, 
attached  fo  the  handkerchief  changing  fake  as  shown  in  Figure 
2.  This  fake  is  little  less  across  than  the  internal  diameter  of 
the  chimney,  and  has  a  length  of  about  2  inches.  Not  only  is 
it  fitted  with  the  usual  changing  bag,  but  it  is  covered  with 
flesh  colored  silk.  This  is  to  insure  silence  in  working  in  addi- 
tion to  serving  a  purpose  to  be  described  later. 

72 


Up  His  Sleeve 


At  the  outset,  the  fake  is  in  the  chimney  at  its  lower  end, 
the  finger  grip  projecting  through  the  slot.  In  such  condition 
the  chimney  rests  on  the  table,  the  presence  of  the  fake  being 
masked  by  the  white  handkerchief  which  provided  plenty  of 
cover  when  crumpled  ball  fashion.  (Though  Figure  2  shows 
the  tube  in  an  upright  position,  it  is  plain  that  it  may  be  laid 
on  the  side.) 


2. 


The  right  hand  seizes  silk  and  tube  together,  with  the 
finger  behind  and  the  thumb  in  front.    While  the  thumb  presses 


73 


Up  His  Sleeve 


the  handkerchief  against  the  chimney,  the  projecting  fake  grip 
is  passed  between  the  second  and  third  fingers. 

After  the  left  hand  has  removed  the  white  silk,  the  right 
is  held  outstretched  for  a  brief  period,  exposing  the  whole  in- 
terior of  the  chimney.  This  action  is  made  possible  by  the 
existence  of  the  flesh  colored  fake,  which,  seen  through  the 
celluloid,  resembles  exactly  the  fingers  of  the  hand  behind. 
Both  hands  being  brought  momentarily  together,  the  fake  is 
slid  along  as  far  as  it  will  go,  and  the  right  hand  turned  with 
the  back  to  the  audience.  Now  the  white  handkerchief  is  in- 
serted in  the  top  of  the  chimney  and  pushed  through  with  the 
wand.  As  it  makes  its  gradual  disappearance  behind  the 
hand,  its  colored  duplicate  emerges  with  quaint  effect  below. 
The  left  hand,  after  removing  silk,  grasps  the  chimney  by  its 
upper  end,  and  drawing  same  away  from  the  right  hand,  leaves 
the  fake  concealed  in  the  latter.  An  easy  task,  thanks  to  the 
' '  grip ' '.  Thus,  the  chimney  may  now  be  shown  actually  empty 
and  the  silk,  grasped  by  the  right  hand,  used  as  an  effective 
means  of  concealment  for  the  fake. 


74 


up  His  Sleeve 


A  Bottle  and  Orange  Mystery 


'  I  ''WO  familiar  objects,  ladies  and  gentlemen — on  my  left, 
-"-  an  orange — on  my  right,  a  beer  bottle.  I  hope  you  do 
not  mind  my  calling  a  beer  bottle  a  familiar  object.  Then, 
there  are  two  sheets  of  paper,  both  to  be  roughly  moulded  into 
tubes  around  the  bottle,  so.  While  one  tube  is  intended  to  go 
over  the  orange,  the  other  remains  as  a  covering  for  the  bottle. 

''Now  you  know  the  exact  condition  of  things.  Orange 
here  (lifts  tube  on  left),  bottle  here  (lifts  tube  on  right).  Yes, 
orange  there  (pointing),  and  bottle  there  (pointing).  At  least 
that  is  what  any  sensible,  logical  person  would  imagine.  But 
there  is  nothing  either  sensible  or  logical  about  a  magical  proc- 
ess, and  so  we  find  the  orange  here  (lift  right  side  tube)  and 
the  bottle  here  (lift  left  side  tube),  and,  to  put  it  mildly,  it  is 
really  unfortunate  when  a  fellow  never  knows  where  to  find  the 
beer  bottle. " 


Take       Co^^ri^ 


The  reader  should  have  no  trouble  in  following  the  action 
of  the  trick  from  the  patter.  The  bottle  is  an  ordinary  one  of 
glass,  but  with  the  bottom  knocked  out.  Not  only  does  it 
cover  a  second  orange,  but  it  fits  within  a  cylindrical  shell  of 


75 


Up  His  Sleeve 


transparent  celluloid.  This  shell,  open  at  both  ends,  and  equal 
in  height  to  the  straight  part  of  the  bottle,  is  lined  with  a  col- 
ored surface  paper,  either  dark  green  or  black  through  the  cel- 
luloid, and  white  inside.  Thus,  the  shell  may  be  made,  at  will, 
a  lining  for  one  of  the  tubes,  or  a  cover  for  the  lower  portion 
of  the  bottle.  In  either  condition  it  is  invisible.  Also,  this 
shell  has  a  label  to  match  that  on  the  outside  of  the  bottle,  and 
a  small  **lug"  or  "tab"  of  celluloid  projecting  from  that  point 
of  its  lower  edge,  which,  when  in  operation,  will  come  to  the 
rear. 

The  sheets  of  cartridge  paper  are  of  equal  width,  and  large 
enough  to  go  around  the  bottle,  with  a  couple  of  inches  to 
spare.  In  height,  however,  one  is  greater  than  the  other  by 
about  two  inches.  At  the  outset  rolled  lengthwise  (the  shorter 
around  the  larger),  they  rest  on  the  table  top  between  bottle 
and  orange. 

The  papers  are  taken  up  and  the  smaller  one  unrolled  and 
placed  around  the  bottle  in  such  a  manner  as  to  keep  the  open- 
ing to  the  front,  and  with  the  left  edge  outside  and  over- 
lapping the  other.  Then  the  larger  paper  is  placed  on  this,  but 
with  the  ** opening"  to  the  back,  just  opposite  to  the  position 
of  the  shorter  paper.  While  the  thumb  and  forefinger  of  right 
hand  nip  together  the  overlapping  edges,  at  the  top  of  tubes, 
the  second  finger  dips  into  the  neck  of  bottle.  During  this 
operation,  which  follows  without  an  instant's  pause,  on  top  of 
the  arrangement  of  the  second  paper,  the  left  hand  moves  up 
and  down  the  cylinder  as  though  moulding  it  to  the  shape  of 
the  bottle,  coming  to  rest  finally  at  the  bottom,  the  thumb  of 
the  hand  is  rested  against  the  projecting  ledge  or  tag  of 
celluloid.  Now  comes  the  critical  move.  In  effect,  the  right 
hand  merely  lifts  the  outer  or  taller  tube  and  places  it  over 
the  orange.  This  move,  if  neatly  executed,  passes  without 
suspicion,  for  actually  the  bottle,  dangling  from  the  second 

76 


Up  His  Sleeve 


finger  is  shifted  also  and  dropped  gently  over  the  orange.  The 
raising  of  the  outer  tube  invariably  drags  up  the  inner  one,  and 
shows  the  celluloid  fake,  but  which  looks  like  the  bottle  and  no 
one  suspects  that  the  bottle  has  been  removed. 

Later,  when  each  tube  is  in  turn  raised  to  show  that  the 
bottle  and  orange  are  in  their  respective  places,  the  left  fore- 
finger is  dipped  into  the  neck  of  the  bottle  as  before,  and  the 
bottle  raised  with  the  tube. 

The  second  paper  is  merely  raised  high  enough  to  reveal 
the  fake  actually  clearing  the  top.  Finally  when  it  is  de- 
sired to  show  the  transposition,  the  magician,  standing  on  right 
of  table,  seizes  the  tube  that  hides  the  fake  at  the  point  on  top 
edge  where  the  edges  overlap.  Nipping  these  overlapping  edges 
between  the  fingers,  he  tightens  the  paper  around  the  fake, 
making  easy  the  task  of  lifting  both  together. 

The  tube  is  now  transferred  to  the  left  hand  and  held  in  a 
manner  to  permit  inspection  of  its  interior.  As  the  second  tube 
is  without  preparation,  it  may,  when  lifted  to  show  the  bottle, 
be  allowed  to  fall  open  in  a  casual  way.  Afterwards  it  is 
rolled  around  its  companion,  and  both,  including  fake,  are 
tossed  carelessly  over  neck  of  bottle. 

If  desired,  the  fake  may  be  made  of  metal,  which  by  its 
greater  weight  will  not  cling  to  the  bottle.  In  other  respects, 
however,  the  celluloid  fake  is  preferable.  There  are  many 
things  to  recommend  this  experiment  to  the  performer,  and  it 
is  really  superior  to  the  passe  passe  bottle  and  glass  tricks. 


77 


Up  His  Sleeve 


The  Turnstile 

'  I  ''HIS  illusion,  based  on  the  principle  of  Black  Art,  is  in- 
-"-  tended  for  the  instantaneous  production  of  four  human 
beings. 

The  apparatus  takes  the  form  of  a  broad  circular  stool  on 
which  is  mounted  a  turnstile  arrangement  of  four  black  covered 
panels.  In  appearance,  the  whole  strongly  resembles  the  re- 
volving turnstiles,  on  which  pictures  are  sometimes  displayed, 
in  shops  and  galleries.  The  stool  carries  a  raised  edge  to  mask 
the  presence  of  a  turntable,  into  which  the  turnstile  is  fixed 
by  pins  in  its  lower  edge.  Thus,  the  turnstile  may  be  revolved 
in  either  direction  to  show  all  parts. 

All  the  outer  edges  of  the  panels,  with  the  exception  of 
those  at  base,  are  bordered  with  white.  While  this  arrange- 
ment gives  an  appearance  of  depth  to  each  compartment,  the 
gloom  of  the  interiors  is  really  made  more  impenetrable,  by  the 
glare  of  the  white  border  lines.  The  turntable,  like  the  panels, 
is  covered  with  black  cloth. 

Each  assistant,  prior  to  production,  stands  in  the  angle, 
formed  by  the  junction  of  two  panels,  and  is  hidden  by  a  black 
flap.  As  each  flap  is  spring  hinged  to  a  panel,  its  normal  posi- 
tion is  against  the  latter,  and  within  the  white  border  lines.  For 
the  purpose  of  concealment,  however,  it  may  be  opened  out  like 
a  door,  till  its  outer  edge  touches  the  further  panel,  and  is  kept 
in  position  by  the  operation  of  a  spring  catch. 

These  arrangements  are  so  simple  and  the  operation  of  the 
Black  Art  principle  so  well  known  that  there  is  no  doubt  re- 
garding the  practicability  of  the  conception. 

In  presentation,  performer  steps  into  one  of  the  chambers 
and,  giving  the  appliance  a  ''push  off''  goes  for  a  ride.  Getting 
out,  he  sets  the  turnstile  moving  once  more.     Four  pistol  shots 

78 


Up  His  Sleeve 


are  fired  in  quick  succession,  and  as  each  compartment  comes 
into  view,  it  is  seen  to  be  the  abiding  place  of  a  beautifully 
dressed  damsel.  Much  of  the  success  of  illusions  of  this  type 
depends  on  the  selection  of  characters  that  will  make  an  in- 
stant appeal  to  the  taste  or  imagination  of  the  audience.  Four 
girls  in  Georgian  costume,  male  and  female,  might  emerge  and 
execute  the  step  of  an  old  time  minuet.  Music  and  dresses 
combined  would  make  of  this  an  appealing  feature.  Again,  the 
assistants,  appropriately  attired,  might  execute  one  of  the 
modern  folk  dances.  Clown,  Pantaloon,  Harlequin  and  Colum- 
bine could  be  created  to  perform  their  drolleries.  A  quaint 
effect  might  be  obtained,  by  openly  standing  a  tiny  girl  in  one 
of  the  spaces.  Round  and  round  goes  the  wheel  of  life,  and 
with  each  revolution  the  child  is  seen  to  pass  through  the  suc- 
cessive stages  of  womanhood, — flapper,  young  woman,  matron, 
and  ancient  dame. 


r/a/i.  6/foLi/tny    //a/OS. 
Cfosev/,  O^e-n  OK  /rr 
tif^cesi  o/'  o/oft^/hf . 


^of/ec/  fines  jAott/ 
Sec^-e^  //a/>s . 

Curious  would  be  the  effect  of  turning  the  apparatus  the 
reverse  way  to  produce  a  series  of  rejuvenations,  ending  once 
again,  at  the  stage  of  childhood.  All  costumes  should,  as  much 
as  possible,  be  designed  to  give  the  appearance  of  bulk  on  pro- 
duction. 


79 


Up  His  Sleeve 


The  catches  on  ''doors"  are  so  devised,  that  they  may  be 
drawn  back  by  a  pull  on  a  black  cord  that  hangs  on  the  inner 
side.  Each  hidden  assistant  frees  her  'flap"  by  a  pull  while  the 
compartment  in  which  she  is  placed  is  away  from  audience. 
Promptly  she  steps  forward  to  loom  as  bulkily  as  possible  in  the 
eyes  of  the  spectators. 


6^^^^ 


SO 


Up  His  Sleeve 


Silk  Stockings 

TDECAUSE  this  idea  is  simple,  I  hope  its  ingenuity  will  not 
-■^  be  overlooked. 

A  large  box,  built  like  a  safety  match  box,  and  decorated 
and  inscribed  to  resemble  one  of  the  fancy  cardboard  cases  in 
which  silk  stockings  are  packed  rests  on  the  stage.  The  box, 
which  is  closed,  stands  on  one  of  its  narrow  sides,  and  end-on  to 
audience. 

Performer  and  assistant,  between  them,  turn  it  around,  so 
that  the  printed  side  faces  audience.  The  drawer  is  pulled 
right  out  of  the  case  and  the  latter  turned  around  and  laid  on 
its  bottom.  The  spectators  can  now  see  right  through  the  case 
to  the  scenery  at  rear. 

The  case  is  restored  to  its  former  position,  and  the  drawer 
reversed  to  show  the  bottom.  Finally  the  drawer  is  pushed  into 
the  case,  which  is  then  turned  with  front  uppermost. 

Now  comes  the  effect. 

Performer  pushes  the  drawer  partly  through,  to  protrude 
about  a  foot  beyond  the  case.  Instantly,  is  popped  up  a  pair 
of  shapely  legs,  clad  in  dainty  shoes  and  silk  stockings.  The 
vision  lasts  for  but  a  moment,  when  the  legs  are  withdrawn, 
and  the  drawer  pushed  through  to  protrude  in  the  same  way  on 
the  othej  side.  Up  comes  a  second  pair  of  legs,  displaying 
hose  and  shoes  of  another  color.  The  male  spectators  are  not 
given  time  to  appreciate  the  fascinating  display  because  the 
drawer  is  pushed  through  once  more.  This  time,  the  wearer  of 
the  stockings  rises,  right  end  uppermost,  and  steps  from  the 
box.  In  the  same  way,  the  second  lady  emerges  from  the  other 
end — a  taking  effect. 
ExplanatioiL 

Though  both  drawer  and  case  are  faked,  the  arrangements 

81 


up  His  Sleeve 


are  very  simple.  That  end  of  the  drawer  which,  in  the  be- 
ginning will  emerge  last,  is  spring  hinged  to  the  bottom ;  so  that 
normally,  its  upper  edge  presses  against  a  bar  that  connects 
the  two  sides  at  top.  A  section,  also,  is  cut  from  the  bottom  of 
the  case.     (See  Fig.  1.) 


Por6'ori  S/?OurS    0/0e/7f/f0 


The  drawer  is  inserted  with  its  faked  end  nearest  to  the 
end  of  case,  at  which  the  opening  is  situated.  Both  girls,  at 
outset,  are  within  the  box.  As  the  drawer  is  slowly  drawn  out, 
they  bend  down  the  moveable  end,  and  passing  into  the  case, 
leave  it  via  the  open  trap  at  rear.  (Naturally,  as  soon  as  the 
drawer  passed  the  opening  the  way  was  clear  for  them.)  As 
quickly  as  possible,  they  get  behind  that  portion  of  the  drawer 
that  has  left  the  case,  and  follow  up  its  further  movement.  The 
case  is  then  turned  down  and  around,  to  display  the  interior. 
(The  trap  is  not  noticed  because  the  interior  is  painted  a  dark 
color,  to  match  a  cloth  spread  on  floor.)  When  the  case  is 
placed  once  more  on  its  narrow  side,  it  is  stood  just  in  front  of 
the  drawer  and  with  the  ends  overlapping  slightly.  (Fig.  2.) 
Promptly,  the  assistants  leave  the  shelter  of  the  drawer  for  that 
of  the  case.  Entering  the  latter,  they  wait  for  the  re-insertion 
of  the  drawer.  As  it  runs  in,  they  push  back  the  end  and 
enter  in  turn.     That  is  all. 

82 


up  His  Sleeve 


The  Screen  of  Life 

T  ONG  ago,  I  bought  a  "Box  of  Tricks."  That  was  before 
-*^-'  the  era  of  back-hand  palming,  and  at  a  time  when  ma- 
gicians were  content  to  let  lions  and  tigers  slumber  peacefully 
in  the  Zoological  Gardens  of  the  world.  As  usual,  this  cabinet 
contained,  among  its  marvels,  the  "Magic  Pocketbook."  The 
feature  to  be  described  represents  a  successful  attempt  to 
turn  to  larger  use  the  ingenious  stringing  arrangement  that 
made  this  trick  possible.  By  its  use,  there  is  obtained  an 
inexpensive  and  self  contained  illusion,  capable  of  variation  to 
any  extent.     Here  is  one  striking  effect. 

On  the  stage,  stands  a  large  three-fold  screen.  Approach- 
ing this  from  the  front,  magician  closes  and  turns  it  right 
around,  then  opens  it  anew,  so  that  the  side  that  was  formerly 
rearmost,  now  faces  the  audience.  The  fact  of  the  reversal  is 
easily  grasped  by  the  spectators,  because  the  cloth  on  one  side 
is  of  a  different  color  to  that  on  the  other.  The  screen  is  next 
arranged  to  make  a  triangular  enclosure.  Suddenly,  as  the 
incense  of  burning  sandalwood  floats  through  the  theater,  and 
while  the  orchestra  is  twanging  a  quaint  little  Chinese  air, 
the  screen  is  opened,  and  there  emerges  a  Chinaman,  bearing  on 
his  shoulder,  a  pole  from  which  hang  two  chests  of  tea.  The 
interior  of  the  screen  also,  has  been  transferred  to  an  Eastern 
background,  while  an  immense  Chinese  lantern  hangs  from  a 
cord,  stretched  from  panel  to  panel. 
Explanation. 

An  inspection  of  Fig.  1  will  show  that  the  screen  is  really 
built  up  of  four  panels,  the  center  one  (B.  B.)  being  in  dupli- 
cate. These  two  sections  are  connected  by  bands  of  stout  web- 
bing, two  bands  being  at  top  and  two  at  bottom.  The  man- 
ner in  which  each  band  passes  from  the  edge  of  one  panel  to  the 

83 


Up  His  Sleeve 


furthermost  edge  of  the  other,  is  clearly  shown  in  the  sketch. 
The  reader,  familiar  with  the  operation  of  the  pocketbook  will 
know  that  like  the  latter,  these  two  panels  may  be  parted 
along  either  of  the  longer  sides,  the  opposite  long  edges  being 
thrown  together  for  the  time  being,  to  form  the  back,  or  hinged 
side  of  the  book. 

It  will  be  noticed  that,  in  the  case  of  the  outside  panels, 
one  (A)  is  hinged  to  the  back,  and  the  other  (C)  to  the  front  B 
section.  > 

That  the  screen  may  be  easily  shifted  without  raising  from 
the  floor,  each  panel  is  provided  at  base  with  two  castors,  or  the 
more  modern  and  satisfactory  furniture  cones.  In  all  sketches 
X  shows  the  position  taken  by  performer,  while  the  assistant's 
place,  for  the  time  being,  is  indicated  by  a  dot. 


pi5,i.  1/      FI0.2.  wt  H  wa& 


Mh»>r^  Bt>*^>g  x  M  "*•'♦■ 


A  X 

FIG. 6.  FI6. 7.  FlO.S. 


At  the  outset,  the  screen  is  arranged  as  in  Fig.  2.  Per- 
former closes  outer  panels  A  and  C  against  the  particular  sec- 
tion of  B,  to  which  each  is  attached,  and  produces  the  wedge- 
shaped  formation  shown  in  Fig.  3.  In  effect,  the  screen  has 
been  closed  up.  The  spectators  within  the  range  of  visibility 
on  either  side  cannot  judge  of  its  condition  while  the  inter- 
posed body  of  the  performer  prevents  those  directly  in  front 
from  realizing  that  the  screen  is  not  quite  closed.     As  a  matter 

84 


up  His  Sleeve 


of  fact,  even  at  its  furthermost  edges,  it  is  not  open  very  many 
inches  because  the  hidden  assistant  stands  side  on  to  audi- 
ence. Furthermore,  the  panels  are  not  solid  throughout,  being 
merely  rectangular  frames,  over  which  the  cloth  is  stretched. 
There  is,  thus,  a  considerable  amount  of  ''Give"  in  the  sides. 

The  screen  is  next  turned  quickly  to  the  left,  around  as- 
sistant, and  while  he  remains  stationary.  (See  Fig.  4.)  Now 
comes  the  critical  move.  The  performer  holds  the  screen 
steady,  while  the  assistant  moves  between  the  two  B  panels,  to 
the  opposite  side.  As  he  advances,  stepping  en  route  over  the 
lower  bands,  the  panels  open  before  him,  and  automatically 
close,  at  his  rear.  (Fig.  5.)  "When  the  panels  are  opened  once 
more,  the  condition  is  identical  with  Fig.  2.  As,  however,  the 
screen  has  been  turned  right  around,  the  respective  positions 
of  A  and  C  have  been  reversed.  Panel  C  (according  to  Fig. 
2)  is  now  brought^around  to  close  the  opening.  (Fig.  6.)  Im- 
mediately this  is  done,  the  assistant  pushes  the  innermost  B 
panel  across,  so  that  it  comes  to  rest  against  the  opposite  side 
of  the  triangle.  (Fig.  7  shows  the  panel  in  course  of  tran- 
sition.) The  assistant  now  has  the  whole  triangular  space  in 
which  to  roam,  and  the  two  rear  walls  of  enclosure  are  made 
by  what  were  formerly,  the  inner  sides  of  the  panels  B. 

These  interiors  should  either  match  in  color,  the  side  that 
is  now  to  the  front,  or  be  decorated  with  a  design  in  keeping 
with  the  effect  of  the  illusion.  In  this  case,  they  should  repre- 
sent a  pattern  in  Chinese  lattice.  If  the  assistant  carries  in  his 
pocket  a  scroll,  showing  a  similar  design  to  be  hung  on  the  inner 
side  of  the  front  panel,  all  three  sections  of  the  screen,  when 
opened,  will  be  in  harmony.  The  lantern  hangs  from  a  wire 
already  stretched  between  the  tops  of  panels  B  and  is  tacked, 
for  safety,  beneath  a  band  that  forms  part  of  the  lattice  pattern. 
The  Chinaman's  broad  brimmed  straw  hat,  pole  and  tea  chests 


85 


Up  His  Sleeve 


(collapsible)  are  similarly  stowed  in  a  manner  to  be  readily 
secured. 

The  performer,  passing  behind  screen,  changes  places  with 
an  assistant  attired  and  made  up  to  represent  magician.  As- 
sistant might  then,  with  back  to  audience,  operate  the  screen 
in  the  manner  just  described,  leaving  the  actual  performer 
at  conclusion,  with  the  screen,  to  wait  his  part  in  the  finale. 
The  assistant  would  then  of  course,  don  some  form  of  cloak, 
and  make  a  further  exchange  by  other  means  with  a  female 
character. 

I  leave  it  to  the  reader  to  make  the  best  possible  use  of 
the  idea. 


86 


^ 


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h. 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 
on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recall. 


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